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•ISSUE1035 WEDNESDAY3 NOVEMBER 2010
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CREDITS PUBLISHER Street Press Auﬆralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse LURE EDITOR Rupert Noﬀs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Blaze, Brad Swob, Bryget Chrisﬁeld, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiﬀy, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, JC Eﬆeller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa Weﬆ, Monica Connors, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney
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EPIC SANE IN THE MEMBRANE
Tens of thousands of Americans marched in Washington’s Rally To Reﬆore Sanity at the beheﬆ of media satiriﬆs Jon Stewart and Stephen Colbert. The Roots played and a ‘we’re sick of minority politics’ point was made. If it fails, at leaﬆ they had a laugh.
THE MODFATHER PT 3
Paul Weller brought his heavy soul ﬆ ylings to the Forum and even dropped Shout To The Top for the Style Council fact ion of fans. And yes, there were scooters parked outside.
THE WIZ OF FAME
The RocKwiz revamp of the ARIA Hall Of Fame worked despite Short Stack massacring Cara-Lyn. Steve Kilbey’s hiﬆory-of-Oz-rock in 15 minutes was the highlight, closely followed by Models putting some synths into the proceedings.
FAIL GLEE PATOOTIE
The Glee caﬆ do Rocky Horror. Cross-dressing and camping it up on Glee! Didn’t see that coming.
RANDY & WHACKING OFF
So, ummm, actor Randy Quaid is seeking asylum in Canada to escape the “ﬆar whackers” killing those he’s appeared in moves with (Heath Ledger, Chris Penn and such). Or is it an art project inspired by Joaquin Phoenix?
FLOODS NOT-SO FLASH
The weekend’s rain may have kyboshed horseracing binge-vomiting but it also left nearly all of Melbourne leaking. Moiﬆ enough for ya?
IF YOUR WALLET is copping a preChriﬆmas pounding, you’ll be ﬆoked to hear that Future Entertainment have introduced a Book Now, Pay Later scheme in conjunction with Ticketmaﬆer for next year’s Future Music Feﬆival. Tickets are ﬂying out the door so don’t miss out… IN OTHER FESTIVAL news, Good Vibrations Feﬆival have conﬁrmed there’ll be no sideshows for the 2011 event, so you’d beﬆ snap up a ticket if you want to see Faithless, Sasha, Erykah Badu, Cee Lo Green and many more do their thing next February… EMO POP SISTERS The Veronicas’ new ad campaign for animal rights group PETA where they hold up skinned animals really is the ﬆ uﬀ of nightmares. But fortunately the shock value is all for a good cause. PETA has also oﬀered to pay for Lindsay Lohan’s rehab program if she agrees to become a vegan. We didn’t think she ate meat anyway… IT’S A SUMMER of celebration for Aussie indie label Remote Control, with 20 of their international artiﬆs (including MIA, Friendly Fires and Gotan Project) in the country as they raise a glass to ten years of diﬆributing ﬁne underground music… SYDNEY HIP HOP duo Spit Syndicate have teamed up with DJ Joyride to produce a new track titled Memories Of Now. The track is available for free downlowd via Soundcloud, and will also feature in their upcoming Wildside national tour with The Tongue later this month...
LIVE AT LAST!
Simon Posford and Raja Ram have ventured down under in various guises over the years – both as solo DJs or performing live under the Hallucinogen moniker in the case of Posford – but their revered psychedelic world music jam band Shpongle have never appeared here in all of their live glory. That is all set to change in the early days of 2011 when Posford and Ram bring their ten-piece ensemble not juﬆ to Auﬆ ralia for the ﬁ rﬆ time, but for their ﬁ rﬆ performances south of the equator! With an as-yet-untitled ﬁ fth album set to surface in 2012, you can expect some fresh material to get an airing alongside classics oﬀ albums from throughout their decorated 14 year hiﬆory. They play The Forum Theatre (Melbourne) Friday 14 January and Enmore Theatre (Sydney) Saturday 15 – tickets are on sale now via www. shpongleauﬆ ralia.com. Proudly presented by Street Press Auﬆ ralia. AKON
AKON FOR SUMMER
As if Summerbeatz didn’t already have music fans of the urban persuasion in a serious lather, a couple of additions to the line-up should sweeten the deal. The ﬁ rﬆ of these is Akon – laﬆ seen here for Supafeﬆ in late 2009 – whose ubiquitous Sexy Bitch collaboration with David Guetta is one of the biggeﬆ club bangers of recent times. Next up is Ciara, the Atlanta-based ﬆarlet who exploded onto the scene in 2004 with Goodies and has kept her ﬂame burning bright with tracks like And I – she’ll no doubt unleash tracks from her January 2011 release Basic Inﬆinct as well. They join Flo Rida, Jay Sean, Soulja Boy, Travie McCoy, Stan Walker and DJ Nino Brown when Summerbeatz 2010 rolls through Brisbane Entertainment Centre Friday 19 November, Acer Arena (Sydney) Saturday 20 November and Rod Laver Arena (Melbourne) Thursday 25 November. Melbourne fans should note that Akon will not be appearing there by the decree of venue management. DJ HARVEY
TWO OF THE BEST
Disco and house fans nationwide were beside themselves with joy when US DJ icons DJ Harvey and DJ Garth were announced for the 20th anniversary of the Meredith Music Feﬆ ival, but when tickets for that sold out in their usual snappy fashion those smiles were turned upside down. The good news is that sideshows have been announced, and everyone is invited to the party! Besides the Meredith Music Feﬆ ival on Saturday 11 December, Picnic Touring will be taking the d-ﬂoor rocking duo to Barsoma (Brisbane) Friday 17 December, The Toﬀ In Town (Melbourne) to help 2010 click over to 2011 on Friday 31 December and also doing their thing at an unspeciﬁed Sydney location Saturday 15 January. Watch this space for updates of course!
GENERAL OUTLOOK Expressing yourself through dance is a great way to look like a total arsehole. Can’t you juﬆ sit ﬆ ill for a while? AQUARIUS (20 JAN TO 18 FEB) Watching re-runs of Mad About You will only get you so far in life. You really need to put pants on and write a CV. PISCES (19 FEB TO 20 MAR) Settling in for a week of softcore erotica should feel like easing into a warm bath. So ﬆ rip oﬀ and enjoy. ARIES (21 MAR TO 20 APR) You will receive a parking ticket every day this week. Your fruﬆ ration will end in a massive food ﬁght at Town Hall. TAURUS (21 APR TO 20 MAY) The evil man you’ve been dreaming of will appear at your front door this week, holding ﬂowers and his own genitals. GEMINI (21 MAY TO 20 JUN) Respond to your emails as soon as you receive them. Otherwise you will miss a major opportunity to suﬀer identity theft. CANCER (21 JUN TO 21 JUL) The glee club you belong to will come to the attention of the police and numerous parent groups. Resign immediately. LEO (22 JUL TO 21 AUG) It may be time to reconsider your singing career. Have you ever considered being a ﬂuﬀer on porno sets? VIRGO (22 AUG TO 21 SEP) Buying expensive magazines juﬆ because they have a free gift is a false economy. The gift is always crappy. LIBRA (22 SEP TO 22 OCT) You’ve been dressing like an aﬆ ronaut for days now and it’s getting you nowhere. Do you have any other coﬆ umes? SCORPIO (23 OCT TO 21 NOV) Does a movie have to be in English, full colour, surround sound and 3D before you can enjoy it? You’re a cretin. SAGITTARIUS (22 NOV TO 20 DEC) No one is returning your calls. That’s because your phone has been cut oﬀ. Contact a ﬁnancial advisor immediately. CAPRICORN (21 DEC TO 19 JAN) Falling asleep in the ﬆ udio audience at The Footy Show is a great way to get beaten up and mugged. Don’t do it.
AS IF THEIR queﬆ ionable new single wasn’t bad enough, the Black Eyed Peas are also in a spot of legal trouble – being sued for copyright infringement for their hit I Gotta Feeling by Texas songwriter Bryan Pringle’s who cites similarity to his own song Take A Dive… STRUGGLING TO GET 40 winks? Insomniacs throw away those naﬆ y sleeping pills! A survey by Travelodge Hotels has revealed the top ten music acts that put people sleep. Coldplay, Michael Buble and Snow Patrol were ranked higheﬆ. Who’d have thunk it… YOU MIGHT NEVER get to gueﬆ program an episode of Rage, but contributing to the Rage Fifty episode is the next beﬆ thing. To help decide the year’s 50 moﬆ popular videos to air on Chriﬆ mas Day, caﬆ your vote at abc.net.au/rage from Saturday 13 November. And make it count... KING OF THE mash-up Greg Gillis – aka Girl Talk – has been hard at work on a new album which should be out by the end of the year. According to the man himself, the hour long release will feature samples from Soulja Boy, Nicki Minaj, Fugazi, Aphex Twin and Rick Ross. Girl Talk has promised a dynamic and “complicated” album so keep your ears peeled... POLO FANS WHO don’t mind a bit of travel take note. The exotic locale of Broome in WA will hoﬆ the Paspaley Beach Polo feﬆ ival on 14-15 May 2011. Don’t pretend you don’t care now…
SPACE IS THE PLACE
With some of laﬆ year’s teething problems quietly rect iﬁed behind the scenes, Space Ibiza returns to Sydney on New Year’s Day 2011 with a line-up much more in line with the Iberian superclub from which it takes its name. And the headline act should be anough to draw a gasp from anyone with their ﬁnger on the elect ronic music pulse, ANDY C with none other than house music legend Francois K (famed for his work in New York City’s ﬂedgling 1970s disco scene and current Deep Space Monday night residency at Cielo) topping the bill. He’s joined by Sébaﬆ ien Léger, Darren Emerson, Dave Seaman, Nick Curly and Camilo Franco on the house and techno tip, while drum’n’bass fans will be treated to an epic Bass Drop ﬆage (presented by 3D World) featuring Andy C, High Contraﬆ , Netsky and Break. Saturday 1 January is the date, and the Enteratinment Quarter’s Showring, Coachbay and The Forum will all be in use on the day.
The quirky pop of Brits Metronomy has always gone over well in Auﬆ ralian, local fans lapping up their “elliptical, insidious, multi-coloured and richly textured art-pop”. Their love for IDM pioneers like Autechre, METRONOMY LFO and Aphex Twin manifeﬆs itself in a rocking live show courtesy of Joseph Mount and his cohorts Anna Prior, Oscar Cash and Gbenga Adekekan, the sounds of lauded second album Nights Out coming to life in the live arena. With new material to showcase, Metronomy hit Oz in November, ﬆarting at Harbourlife (Sydney) Saturday 20 November, Oxford Art Factory (Sydney) Tuesday 23 with support from World’s End Press and Olugbenga Metronomy DJ set, Prince Bandroom (Melbourne) Thursday 25 with World’s End Press and Magic Silver White and Woodland (Brisbane) Saturday 27. The planned Gold Coaﬆ edition of Harbourlife has been cancelled.
ON A SPRING HOLIDAY
It’s been a busy year for Melburnian Ben Plant and his now four-piece incarnation of Miami Horror. Not only did they ﬁnally unveil their MIAMI HORROR long overdue Illumination to moﬆ ly positive feedback, but they spent quite some time on the road touring it – not juﬆ in Oz (with a rousing set at Splendour In The Grass a highlight) but the USA and South America as well. With a new video for new single Holidays (featuring a lead character who looks suspiciously like Futurama’s Zoidberg) recently revealed, the band are embarking on a tour of the same name, bringing the celebratory spirit of no work commitments to Beach Road Hotel (Sydney) Thursday 11 November, The Globe Theatre (Brisbane) Thursday 18 December and The Espy (Melbourne) Wednesday 24 December. Tickets are on sale now.
PHONING IT IN
Hip hop and Casio rock is an unlikely genre collision, but it’s one that Sydney hip hoppers The Phonies lay claim to. They certainly don’t take things too seriously if their new single and tour name are any indication, with Douche Bag an “Outkaﬆ meets Oﬀspring pop rap anthem”. Their November tour kicks oﬀ at The Soundlounge (Gold Coaﬆ) Friday 5 November and Great Northern Hotel (Byron Bay) Saturday 6 before hitting Lock N Load THE PHONIES (Brisbane) Sunday 7, The Shire (Brisbane) Monday 8, Newtown Feﬆ ival (Sydney) Sunday 14, Purple Sneakers at Miss Libertine (Melbourne) Friday 19 and again at Miss Libs Sunday 21, The Joynt (Brisbane) Friday 26 November, The Brewery (Byron) Saturday 27, and ﬁnally Katoomba’s Baroque Friday 3 December.
CALENDAR NOVEMBER MUSCLES – Thursday 4 , Eureka ILLY, SKRYPTCHA, 360 – Friday 5, The Hi-Fi MUSCLES – Friday 5, Prince WORLD’S END PRESS – Friday 5, Northcote Social Club JASON DERÜLO – Friday 5, Festival Hall DJ VADIM, DJ SARAH LOVE – Friday 5, The Espy BLOW YOUR OWN WAY: FUNK D’VOID – Saturday 6, New Guernica JASON DERÜLO – Saturday 6, Festival Hall SUPERDISCO: LOUIS LA ROCHE – Saturday 6, Prince WAX MUSEUM JAM: MEXI, LOTEK – Saturday 6, Croft Institute PAGEN ELYPSIS – Saturday 6, Revolver GRAFTON PRIMARY, INFUSION – Friday 12, The Hi-Fi THE SHAPESHIFTERS – Friday 12, Market Hotel WAX MUSEUM JAM: RICK WADE – Saturday 13, Croft Institute MUTU – Saturday 13, Seven Nightclub BONE THUGS-N-HARMONY – Saturday 13, The Espy NOISEFEST: MC AKIL, LOUIS LOGIC, DJ SIZZLE – Friday 19, Prince Bandroom QUANTIZE, LIQUID SOUL – Friday 19, Room 680 PURPLE SNEAKERS: THE PHONIES – Friday 19, Miss Libertine BLOW YOUR OWN WAY: VINCE WATSON – Friday 19, Venue TBA ELECTRIC WIRE HUSTLE – Friday 19, The Hi-Fi BAG RAIDERS – Friday 19, Billboard DANIMALS, KYÜ, DOMEKYO/ GONZALEZ – Saturday 20, Northcote Social Club WOBBLE: LADY ERICA – Saturday 20, The Night Owl PHAROAHE MONCH, JEAN GRAE, PERCEE P, M-PHAZES – Sunday 21, Prince Bandroom ALEX SMOKE, MARTIN BUTTRICH – Sunday 21, Revolver GHETTO ARTS SHOWCASE: THE PHONIES – Sunday 21, Miss Libertine BONE THUGS-N-HARMONY, THUNDAMENTALS – Monday 22, The Espy MIAMI HORROR – Wednesday 24, The Espy PAQMAN – Thursday 25, Revolver METRONOMY, WORLD’S END PRESS, MAGIC SILVER WHITE – Thursday 25, Prince Bandroom PAQMAN
SYDNEY’S WINTER MUSIC feﬆival inﬆitution We Love Sounds has been declared insolvent. The company behind the event has gone into liquidation following heavy ﬁnancial loss plus a $430,000 debt. Organisers cited an overly competitive feﬆival market as a key reason behind the poor performance of the 2010 edition and its subsidiaries… 52-YEAR-OLD Madonna is set to open her own franchise of gyms in major cities around the world. The Hard Candy Fitness centres will reﬂect her superﬆar taﬆe in music, space and design. Pumping iron while liﬆening to Material Girl on repeat – the work out of winners... DIRECTOR CHRISTOPHER NOLAN has announced that Batman: Dark Knight Rises, due out July 2012, will not follow trends and utilise the popular 3D format, commenting that he wanted “the look and feel of the ﬁlm to be faithful to what has come before”. Nolan’s laﬆ Batman release was the seventh higheﬆ-grossing ﬁlm of all time so we truﬆ his inﬆincts… SULTRY SWEDISH SONGSTRESS Lykke Li is back with a new single – get your freebie download of Get Some via lykkeli. com right now… IF YOU’RE A fan of electro-punk pioneers Devo, Beatport are oﬀering you the chance to have a tilt at remixing the classic Freedom Of Choice and new tune What We Do. The ﬆems for each are bundled up and downloadable for US$3.99, but the experience will no doubt be priceless…
Lady Erica is returning to Wobble at The Night Owl on Saturday 20 November with her “future garage” sound. The Brit expat, named ‘Lady’ by MJ Cole, helped break UK garage in Auﬆ ralia – and, before that, drum‘n’bass – laying the foundations here for a growing dubﬆep scene. Expect Wobble’s usual high ﬆandards – with a uniquely powerful sound syﬆem and regulars DJ Cubiﬆ, AC23, SpinFX. Retsa, Woz, MC Wasp, Fraksha and Scotty Hinds. Entry is $15.
A Tribe Called Queﬆ’s Phife Dawg and Ali Shaheed Muhammad will no longer be touring Auﬆralia this month. In a press release, promoters Peace Music allege, “It’s very recently come to light [that] the agent for the tour has grossly misrepresented the artiﬆs involved and misappropriated payments made to him on behalf of the artiﬆs.” Despite negotiating directly with management, Peace have been unable to save the tour.
Scotland’s Funk D’Void revived – and recaﬆ – Detroit-ﬆ yle techno in the mid90s, his signature tune the later Diabla. The DJ traverses techno, house and deep groove – but always with soul. He’s back to play the lateﬆ Blow Your Own Way this Saturday at New Guernica. Chriﬆ ian Vance will also perform live. Tickets via Moshtix and Resident Advisor.
OPEN DOOR Returning Irish elect ro-pop hipﬆer
faves Two Door Cinema Club will play a club date, in addition to the soldout Laneway. The gig is at the Prince of Wales on Wednesday 9 February. TDCC, who debuted with Touriﬆ Hiﬆory on Kitsuné in early 2010, will commence a follow-up next year. Get your tickets from Polyeﬆer Records, Greville Records or the Prince.
BAND OF HORSES
Even the beautiful people were begging to sneak into Foals’ secret (and sweaty) MySpace show in Melbourne mid-year. Now the Brit dancepunks, on a roll since dropping Total Life Forever, are returning for Laneway. They’ve conﬁ rmed an 18-plus side-show at The Palace on Thursday 10 February. Supporting are Brisbane’s Laﬆ Dinosaurs. Tickets are through Ticketek and OzTix.
YEAH WE CAN
Want more Yeasayer? Here for Laneway this summer, the Brooklyn alt-dance band will also descend on Billboard on Thursday 10
February. They’ll perform material from their current album, Odd Blood, praised by NME, who declared Yeasayer to be “Candidates for 2010 ‘New Weird America’ Great Crossover Potential”. Tickets are available from www. handsometours.com, Moshtix, Ticketek and Polyeﬆer Records.
A MOUNTAIN OF ONE
Eclect ic and innovative Aussie hip hop outﬁt Hermitude – formed in the Blue Mountains, of all places – will perform at the Northcote Social Club on Friday 10 December. Tickets are on sale through the NSC, as well as its siﬆer venue, the Corner Hotel.
PAQ IT IN
Paqman, originally from the ACT, hit Revolver on Thursday 25 November with an unpredictable and totally improvised set of... neo-big beat! They’re supported by glitchy grimeﬆers Oscar & Martin (formerly Psuche) plus the elect ro-pop Back Back Forward Punch.
CALENDAR MARINA & THE DIAMONDS
SUMMERBEATZ: CIARA, FLO RIDA, JAY SEAN, SOULJA BOY, TRAVIE MCCOY, STAN WALKER, DJ NINO BROWN AND MORE – Thursday 25, Rod Laver Arena DJ KRUSH – Thursday 25, The Corner Hotel STRAWBERRY FIELDS: MODEL 500, TELEFON TEL AVIV, ALEX SMOKE, VINCE WATSON AND MORE – Friday 26, venue TBA AGAINST THE GRAIN: KRAFTY KUTS, KID KENOBI & MC SHURESHOCK, ADSORB, SKOOL OF THOUGHT – Friday 26, Brown Alley DECEMBER U2, JAY-Z – Wednesday 1, Etihad Stadium ELECTRONIC MUSIC MASTERCLASS: DIRTY SOUTH, GRANT SMILLIE – Wednesday 1, Billboard BELLES WILL RING – Friday 3, East Brunswick Club DRAPHT – Friday 3, Prince Bandroom KOMPAKT 4: DOMINIK EULBERG, MICHAEL MAYER, TOBIAS THOMAS – Friday 3, Brown Alley STEREOSONIC: TIËSTO, CALVIN HARRIS, CARL COX, RICARDO VILLALOBOS, TECHNASIA AND MORE – Saturday 4, Melbourne Showgrounds ELIZA DOOLITTLE – Thursday 2, The Toff SOLA ROSA, LAMKUM – Thursday 2, Roxanne Parlour GOTAN PROJECT – Wednesday 8, The Forum Theatre THE FIELD – Thursday 9, East Brunswick Club GOTAN PROJECT – Wednesday 8, The Forum Theatre CLIPSE – Thursday 9, Prince Bandroom BROADCAST – Thursday 9, The Hi-Fi MEREDITH MUSIC FESTIVAL: PANTHA DU PRINCE, THE FIELD, DIRTY THREE, WASHED OUT, LITTLE RED, THE FIELD GIRLS AND MORE – Friday 10–Sunday 12, Meredith Supernatural Amphitheatre EL GUINCHO – Friday 10, East Brunswick Club HERMITUDE – Friday 10, Northcote Social Club ISHU – Saturday 11, The Workers Club RAP CITY: BLACKALICIOUS, MURS & 9TH WONDER, RA THE RUGGED MAN – Saturday 18, The Espy MARINA & THE DIAMONDS – Tuesday 28, The Hi-Fi PYRAMID ROCK FESTIVAL: N*E*R*D, ARRESTED DEVELOPMENT, CHROMEO, XAVIER RUDD, GYROSCOPE, MYSTERY JETS AND MORE– Wednesday 29 – Saturday 1, Phillip Island PUBLIC ENEMY – Wednesday 29, Corner Hotel ARRESTED DEVELOPMENT – Wednesday 29, The Espy THE CASIOKIDS, NEON INDIAN – Wednesday 29, Revolver
THOSE CRAZY CATS from the Beaﬆ ie Boys have confused the fuck out of everybody with the announcement that their new album Hot Sauce Committee Part 2 will surface in early 2011 featuring tracks originally intended for Part 1 – which will air featuring tracks intended for Part 2 on an unspeciﬁed date. It’s either genius or utter insanity… IF YOU’VE NEVER imagined Diplo or Lil Jon as Street Fighter-esque charcaters, you’re in luck – the new clip for their U Don’t Like Me collab directed by the Taiwanese NMA does juﬆ it for you… LOOKING FOR A Chriﬆmas gift for that hard-tobuy-for parent or bookish partner? Margaret and David from At The Movies have selected their favourite themes and songs from the movies for a compilation of the same name. Surprisingly, nothing from Rocky features… WE’RE NOT SURE if Static Revenger cooked up his lateﬆ collab with Melbourne’s Vandalism while he was in the country, but it doesn’t really matter – Vegas will drop via Vicious on 15 November, will feature an Angger Dimas remix and will no doubt slay clubs, feﬆivals and possibly even vampires… MORE CONCERTS RECORDED by Triple J will air on ABC 2 on Monday nights through November for Ausmusic Month. Catch The Temper Trap Monday 8 November, then Bliss N Eso, Parkway Drive and Angus & Julia Stone to wrap it up…
DAYS OF SUMMER
Teaming with The Likes Of You and Thick As Thieves, Revolver will ﬆage an ultra cred double-bill on Sunday 21 November as part of its second Summer Series with deep techno types Alex Smoke, from Glasgow, and Germany’s Martin Buttrich. Timo Maas’ longtime ﬆ udio cohort, Buttrich has impressed techno puriﬆs with his output on Carl Craig’s Planet E. Supports include Mike Callander. Tickets through Moshtix.
Paris-based nujazzers Gotan Project have announced a second gig at The Forum on Thursday 9 December. The ensemble recently issued their third opus, Tango 3.0, which carries an American blues inﬂuence. Their show blends live musicianship, DJ culture and visuals. Tickets via Ticketmaﬆer.
ﬁ rﬆ taﬆe of his debut, A World In Progress, which ﬁnds him reconﬁguring world music, elect ronica and urban. ISHU launches the album on Saturday 11 December at The Workers Club with a live laptop show featuring gueﬆ vocaliﬆs like Mantra, Class A and Elf Tranzporter. Pataphysics support. Tickets are through Moshtix.
Experimental rockers Menomena hail from Portland – Portland, Oregon, that is. Revered by critics universally, they recently issued their fourth album, Mines. The band members are renowned for their versatility on ﬆage – and use of elect ronic gear. On their inaugural Auﬆ ralian tour, Menomena will hit Laneway, but you can also catch them at the Eaﬆ Brunswick Club on Wednesday 9 February. Tickets are on sale through the venue from Friday.
Is Melbourne-based hip hop producer ISHU our next game changer? He’s plugging a single, Progress, with local MC Mantra, through ForeignDub. It’s the
Kylie Minogue worked with the iconic power-pop fold Stock Aitken Waterman. Now Melbourne’s Peter Wilson has had his brush with the team. The singer’s single Intoxicated, produced by the Dutch Matt Pop, has been remixed by Dave Ford and Ian Curnow, who have aﬃ liations with SAW and their product ion house PWL (now PWE). It’s released digitally on 15 November through Energise Records. Wilson’s album Stereo, which contains a Stock/ Aitken composition, materialises in 2011.
The Laverton Community Centre is putting the ‘fun’ in fundraising with a
Dance-A-Thon this Saturday from 1:30 to 10pm. There will be gueﬆ dance teachers specialising in everything from hip hop to rock ‘n’ roll to Latin. Monies raised – and non-perishable food ﬆ uﬀs collected – will be used by the centre’s relief program and community cafe. These provide the homeless and ﬁnancially ﬆ rapped with food and companionship. Volunteer DJs and promoters are also needed. To regiﬆer, or help, go to www. dance101.com.au.
BACK TO THE FUTURE
Forget nu-rave – experience the real thing at the Old Skool Rave party (Arm In Arm #5) on Friday 19 November at Brown Alley. Headlining is Brit icon DJ Welly, who’ll play early 90s rave classics. Welly, who made his name playing across England’s North Weﬆ, now resides in Brisbane. He joins Adrian Van Raay, Seth Taylor, and Melbourne oldtimer Jeﬀ Tyler playing a morning set. There will even be a laser show. Tickets are from www.greentix. com.
THE THRILL OF THE CHASE EMERGING HIP HOP SUPERSTAR AL MURRAY ISN’T AFRAID TO TAKE RISKS, AND HE CONFESSES TO LUKE MCKINNON THAT THE TITLE OF HIS SECOND ALBUM AS ILLY IS ALL ABOUT MOVING FORWARD – IN MUSIC AND IN LIFE.
N 2008, OBESE RECORDS WAS SHAKEN AT ITS VERY FOUNDATIONS WHEN LONG TIME ARTISTS HILLTOP HOODS, DOWNSYDE AND THE FUNKOARS PARTED WAYS WITH THE LABEL. After a period of unprecedented commercial and critical success, owner Tirren Staaf was left shocked – at the time he commented that it had been “the fucking hardeﬆ period of his life” – and queﬆioning how to rebuild a label that had juﬆ loﬆ three of its biggeﬆ names. The easy option would have been to consolidate and focus his attention on what he already had at his disposal; inﬆead, Staaf went on an unprecedented shopping spree, hand-picking and signing the beﬆ up-and-coming talent Auﬆralia had to oﬀer. In 2008 and 2009, Obese signed 20-somethings Spit Syndicate, Thundamentals, Dialectrix, Skryptcha and, perhaps the label’s brighteﬆ ﬆar, Melbourne MC Illy, aka Al Murray. In 2010, Staaf ’s foresight began paying dividends. Whilﬆ many of Obese’s recent signees have received critical acclaim and radio airplay, it has been Murray, along with Elefant Traks’ young guns Horrorshow, who has ﬆood up as the beﬆ young talent Auﬆralian hip hop has to oﬀer. Murray’s 2009 debut Long Story Short oﬀered liﬆeners an insight into the talented MC’s lyrical arsenal which he’d grafted over the product ion of long time collaborators M-Phazes and Jan Skubiszewski. It was an album of quality with ﬂourishes of brilliance, but an album that occasionally teetered on the edge of immaturity and that at times lacked depth – both traits that Murray has endeavoured to rectify on his follow-up record The Chase.
“To be honeﬆ, I really juﬆ wanted to build on what I’d already created,” Murray says. “Long Story Short did way better than I ever realiﬆically expected it to do. So this time around, it was thinking ‘how can I make something that’s not better, but that I’m happy with and that is a progression from the laﬆ album?’. I think having the experience of writing the ﬁrﬆ one and then wanting to build on that and wanting to correct what I thought was the wrong with the ﬁrﬆ one is what has brought me to here. I think in every aspect that [The Chase] is a ﬆronger album than Long Story Short. Look, Long Story Short has its place and there are some tracks on there that I love, but if you ﬆacked it up track-for-track with this one, The Chase really holds its own.” And hold its own it does. The Chase shines with musical diversity, providing a platform for Murray’s lyricism that has loﬆ its “partyboy” edge and swapped it for clever rhyming and deep introspection. In doing so, it has also bucked the “second album blues” a phenomenon that only momentarily worried Murray. “The ‘sophomore slump’ is a fairly well documented thing and I deﬁnitely did worry about it at the very ﬆart of the whole process,” Murray admits. “But throwing myself ﬆraight back into the creative process meant that I didn’t really give myself time to sit around and do my head in about it. Also, working closely with people who don’t really have dips in form made it a lot easier than it otherwise might have been.” The collaborators he speaks of are Jan Skubiszewski (of Jackson Jackson, Phrase and The Cat Empire fame) and ubiquitous überproducer M-Phazes. Together with Murray they have crafted one of the moﬆ musically diverse and intereﬆing hip hop albums ever to be released in Auﬆ ralia, yet Murray didn’t set out to disorientate or surprise the liﬆener with the album’s production. “I’m always open to diﬀerent sounding beats,” says Murray, “particularly from Jan, who makes really left of centre ﬆ uﬀ. “I mean, on both my albums there is deﬁnitely some ﬆ uﬀ that you wouldn’t ﬁnd on other albums and I really dig that. I pick all the beats myself and work on the beats with the producers, so I wasn’t setting out with the intent of doing something diﬀerent for the sake of doing it diﬀerently, but at the same time I wasn’t going to not buy a beat because it wasn’t a typical Aussie hip hop beat with soul loop and boom-bap drums either. I don’t consciously go out there to do something diﬀerent, but if something diﬀerent does come along and I like it, then I’m more than happy to run with it.” The moﬆ discernable change in Murray’s repertoire has been the maturity with which he has approached his writing. The Chase is littered with songs that delve deep into Murray’s psyche, oﬀering the liﬆener an insight into the way he thinks – he’s more socially and politically aware this time around and a consciousness of his surroundings, and the way that place has aﬀected him personally, is apparent throughout. It’s a bold and brave move for a young artiﬆ, but Murray is taking it in his ﬆride. “I think I’ve always been intereﬆed in politics and the way the whole social syﬆem works, going way back to when I ﬁrﬆ ﬆarted high school, which is really when you ﬁrﬆ ﬆart
I DON’T CONSCIOUSLY GO OUT THERE TO DO SOMETHING DIFFERENT, BUT IF SOMETHING DIFFERENT DOES COME ALONG AND I LIKE IT, THEN I’M MORE THAN HAPPY TO RUN WITH IT.” getting taught about that ﬆ uﬀ,” an impassioned Murray says. “So yeah, it’s not something new; I think on this album however, my views have become sharper, more informed and there is a more mature process to my thoughts. I mean, I was writing political tracks before Long Story Short that were pretty much repeating catchphrases from the left side of politics, but I think now I’ve got more depth to my insights. I deﬁnitely wanted to move away from tracks that didn’t have much to do with anything. I think there were a few tracks on Long Story Short that didn’t have much that would grab you. So I wanted to avoid that on this one, but other than that, I think it was juﬆ a natural thing that all the subject matter came together as the album progressed.” When talking to Murray, it’s hard to imagine what he might be chasing. He seemingly has the world at his feet, but as he explains, The Chase is all about moving forward and what it takes to get there, a never ending pursuit of sorts. “I guess the title really reﬂects the whole period between the laﬆ album and this album,” says Murray. “I’ve been pursuing some goals that haven’t quite come to fruition yet, like ﬁnishing uni; touring to set the ﬆage for the second album; even making and ﬁnishing the second album and it’s all been this big chase towards the bigger pict ure, I guess. So I guess the title really sums up the album and where I am at really well.” WHO: Illy WHAT: The Chase (Obese) WHERE &WHEN: The Hi-Fi (Melbourne) Friday 5 November, Yahoo Bar (Shepparton) Friday 26 November
THE LEGACY OF CROOKED EYE O
N HIS LATEST RECORD, ILLY CALLS OUT HIS CLOSE GROUP OF FRIENDS: “Now Danny’s international, Phaze is international, J-Skub’s a genius and Phrase is an animal.” The men he’s referring to are Daniel Merriweather, M-Phazes, Jan Skubiszewki and Harley Webﬆer aka Phrase; combined they form famed hip hop and music collect ive Crooked Eye. When Murray ﬁrﬆ met Merriweather and Webﬆer at Melbourne’s The Spot nightclub he was performing live in front of a crowd of less than 20 – fortuitously, the aforementioned Merriweather and Webﬆer had decided to ﬆay and check out the young kid who was rhyming. At the time, Webﬆer and Merriweather were tiny blips on the Auﬆ ralian musical landscape, but they had the foresight to surround themselves with likeminds and immediately they invited a raw, but enthusiaﬆ ic Murray to the ﬆ udio to record with them. And despite it being a massive cliché, the reﬆ, as they say is ‘hiﬆory’. Crooked Eye’s record is formidable – Merriweather is now one of Auﬆ ralia’s biggeﬆ international pop exports, recording and writing with the likes of Mark Ronson and Amy Winehouse; M-Phazes is the ﬁrﬆ Auﬆralian hip hop producer to properly crack the American hip hop market, making beats for Talib Kweli and Pharoahe Monch; Phrase broke new ground being the ﬁrﬆ Auﬆralian MC to be signed to a major label and J-Skub is the driving force behind Jackson Jackson and has produced music for The Cat Empire and Bliss N Eso. It is remarkable that a group of young men (predominantly from Melbourne) who came together initially juﬆ to have fun and make some music have all had such success both internationally and on the home front. So, what does Murray put it down to? “They are all the hardeﬆ working motherfuckers I know. They are all super talented, passionately dedicated and know what they want. That’s the reason those guys have done so well, bloody hard work.”
HER’S IS THE VOICE OF A TIMELESS ANTHEM. AN ANTHEM WITH A SPIRALLING BASSLINE THAT RESONATES THROUGH CLUBLAND YEAR-IN, YEAR-OUT. DONNA SUMMER IS A DEFINING ARTIST OF THE ORIGINAL DISCO ERA. DAVEDRI CHARTS HOW THE AMERICAN SINGER MOVED TO EUROPE, MET GIORGIO MORODER AND HELPED SHAPE ELECTRONIC DANCE MUSIC AS WE KNOW IT.
here are many careers of music greats that weave between the foundations of a genre, or form a waypoint in the hiﬆory of music. Some become legends for momentary works, but few become a true cultural icon – representative of the experiences, excitement and excesses of a movement. And no movement had more excess and excitement than the disco era of the 1970s, with Donna Summer unanimously appointed as The Queen Of Disco. Summer’s experiences through the birth and death of popular disco reads like a who’s who of the scene, with a surprising and laﬆing legacy DISCO DIVA,1968-PRESENT on all forms of popular music through her innovative songwriting, enigmatic persona, and careful choice of collaborators. The impact and importance of the sultry vocaliﬆ behind such hits as Hot Stuﬀ and I Feel Love is nearly immeasurable, and sees a new generation of fans the ﬁrﬆ coming of disco than I Feel Love, a track oft-remarked as being so emerging from the lateﬆ disco resurgence. ahead of its time as to remain a reference point for elect ronic producers to Born Donna Gaines in Boﬆon in 1948, Summer was the product this day. Summer’s searing notes and dreamy repetition layer over Moroder’s of a large family of devout Chriﬆians, ﬁnding her voice in church arpegiated bassline, such an infect ious hook as to have inspired UK elect ronic with the choir, and at home with the popularity of Motown. Feeling artiﬆ Underworld on their 1998 ﬆadium techno hit King Of Snake. Indeed, the pull of a music career as her way out, Summer dropped out of re-issues of the single began to include credits for Giorgio Moroder, Pete school and moved to New York, beginning a roller-coaﬆer ride as Bellotte and one Donna Summer. In the same year, countless uncredited samples she gained a foothold in theatre and on Broadway. These formative would hit the market as the blossoming house and hip hop scenes made use of years saw the horizons blend through tours of the USA and increasingly aﬀordable Akai and Roland samplers to lift grooves, vocals and riﬀs Europe, performing as a member of the pop group Family Tree from Summer’s records. after settling into Munich, Germany. It was here that Summer The party drew to a close as the decade did, with the dream team breaking met future husband Helmuth Sommer, retaining and tweaking up as disco collapsed under the weight of the excess, the greed and the ﬆeady his name upon their eventual divorce in 1974. In the same year, impersonation of itself. During this time Summer was embroiled in her own her ﬁrﬆ album release on European label Groovy Records met battles, both in her career (separating from Casablanca Records), and in her personal with an encouraging if moderate success, driving her to pursue life – suﬀering an addiction to prescription drugs in her battle with depression and the production talents of Giorgio Moroder and Pete Bellotte. anxiety. Despite the challenges, Summer was buoyed by a wave of support following Almoﬆ inﬆantly, the pairing of Summer and Moroder her participation in the world-televised Music For Unicef concert, to become the ﬁrﬆ became a hit factory, with the 1975 single Love To Love You artiﬆ to sign with Geﬀen Records (although legal problems quickly arose). Embracing Baby drawing attention for Summer’s moans and groans. the popular poﬆ-new wave rock of the time, new hits including She Works Hard For The The eventual 17-minute extended version was a heavy dose Money rose up the charts, and signalled the emerging realisation of Summer’s timeless of what sounded shockingly at the time like simulated talents. While falling short of the routine gold ﬆatus releases of the 1970s, Summer’s orgasms, forever setting the singer’s image as a sultry output continued to inspire and to break new ground. Even to this day, Summer ﬆar and sex symbol. The musical experimentation would continues to pursue new challenges and new projects, announcing earlier this year the become a deciding factor in the singer’s success, working intention of recording a series of ﬆandards, hot oﬀ the back of releasing the single To Paris closely with Moroder in his exploration of synthesisers With Love in Auguﬆ. and electronic music. In time this experimentation would Despite the current activity, for many the career of Donna Summer is intrinsically linked set the mould for disco for the remainder of the decade. to the heady days of disco, and to that eﬀect there is no better artiﬆ to trace the outline This sound typiﬁed by the ﬆeady groove of an elect ronic of the creative passions, the fashions, and the excess and abandon of the era. To the casual drum machine, the warm bass arpeggios from a wall disco fan, or those ﬆepping from the current intereﬆ in cosmic disco, space disco or discoof Moog modular synths and Minimoog keyboards, whatever, there is no better reference point than the Moroder-years of Summer’s output. In and the vocal treatments and dreamy reverbs around fact, a journey to any record ﬆore for anything with Summer’s name on it is a lesson in the Summer’s ﬆrong projections and crooning. high bar set by an artiﬆ who was once mocked by family for the way she sung and looked, and There is perhaps no greater example of the peak of then worshipped as a leading voice and sex symbol for an era with no shortage of talent.
NEVERENDING SONIC STORY IT’S BEEN EIGHT LONG YEARS SINCE MINIMAL AND TECH LEGEND RICARDO VILLALOBOS PLAYED IN AUSTRALIA. HE GIVES TROY MUTTON THE LOWDOWN ON WHAT HE’S BEEN UP TO SINCE THEN – MAINLY A LONG AND POSSIBLY NEVER-ENDING JOURNEY INTO SOUND.
hen 3D World catches up with Ricardo Villalobos in his ﬆ udio he sounds tired, but it’s not the usual DJ’s excuse of a big night the previous evening, rocking some club in exotic lands. Rather it’s something a little more mundane. “I’m good, it’s morning but I’m good. I had to take my children to kindergarten so I am awake now,” he laughs, a little begrudgingly. Having been in the business of rocking danceﬂoors since the late 1980s, it’s hardly a surprise there’s very adult aspects to his life now, but it certainly hasn’t aﬀected his desire to keep doing what he’s doing. “For me the moﬆ valuable thing is to be together with my family, but I have to do my job. From time to time I have to separate. It’s not easy sometimes. And as long as my health is permitting it – my ears and my health in general are making it possible for me to go on – I want to give more time to producing music in the ﬆ udio too.” And when your job is making music you enjoy and then playing it out for people, why shouldn’t you keep going? Having been on the scene for the better part of 20 years, Villalobos has seen the elect ronic music world, and in particular DJing, evolve over time and over diﬀerent mediums, throughout which he has remained very much a traditionaliﬆ at heart. “For me it hasn’t changed so much. I’ve been playing the same ﬆ yle of music for the beﬆ part of 20 years. I’m ﬆ ill playing a mix of house, percussion and rhythm music, and I’m ﬆ ill playing with records.” That’s not to say he doesn’t see the advantage of new mediums, but only to a certain degree. “Of course what changed is playing with CDs. When you play with CDs you have to think more about what you’re doing. What’s even worse is playing with computers. I couldn’t imagine playing with laptops and things like Traktor; it’s hard to identify between songs and what comes next you know. I prefer to play
with records forever.” CDs do come with beneﬁts though; the fresh and/or rare tracks that make up Villalobos’s musical arsenal at his gigs. “It means I’m playing my own product ions and friend’s previously unreleased product ions, which are the secret weapons you have with CDs.” Villalobos was born in Chile before he moved to Germany with his parents to escape a military coup, but it’s a combination of harnessing South American sounds and combining them with his German heritage, along with some classical and jazz, which has seen him become one of the world’s biggeﬆ DJs. He regularly rocks arguably the world’s moﬆ famous club, Fabric, and in 2008 was named Resident Advisor’s number one DJ in their Top 100 DJs poll. It all seems a far cry from his youth, a time he looks back on fondly and one that played a big role in shaping his intereﬆ in how music
aﬀects people today. “I grew up in Germany but at home I was always in Chile, being in South America, liﬆening to South American music and chilling and having kitchen parties with the friends of my parents. All the people coming from South America were always together, partying together and dancing together in any situation – being very happy people, you know.” It was the Chilean’s conﬆant bright outlook on life that has underﬆandably inspired Villalobos to enjoy the good things in life. “Though they were separated from their homes and forced to live in an exile situation, it was always a very positive and fun time of my life. So of course this South American music and this feeling of life and enjoying music is absolutely inside my concept of playing records and enjoying partying.” It’s then the conversation turns to the true driving
force behind his product ion and DJing – he juﬆ wants to explore sound and what eﬀect it has on you, the punter, when he plays it in a club or under the feﬆ ival sky. “[Producing and DJing are] like jamming; entering the world of frequencies, the wide range of frequencies and what they do to our psychology and why we are dancing to it. And the journey factor, all these things. I’m in conﬆant research with sound.” When it’s suggeﬆed that this is what drives him to keep making new music, he get’s deeper into his intereﬆ in how people react during a Ricardo Villalobos DJ set. “It’s like [trying] to ﬁnd out the truth about the danceﬂoor; making people move and what they feel, and I’m conﬆantly thinking about that. It’s not really a conscious thinking though, it’s like a subconscious process and program in your mind which is also like loving the party,” he says before admitting it’s not all about us. “Having fun with my friends, that is of course the other driving force.” It has been a while between drinks for Auﬆ ralian fans of the maeﬆ ro of minimal, and Villalobos is as excited as anyone not only to return to our shores, but see what experiences he can get out of Aussie crowds. “I’m really very curious to see how it (Auﬆ ralia) has developed with people and elect ronic music. But I have a rhythm formula, and it works anywhere. It’s like a universal language which is connected with all kinds of culture. I’m sure it’ll be lots of fun,” he says with what you can tell is a big grin on his face. “Its like a new experience, it’s been a long time, but the rhythm formula is working for sure, always!” WHO: Ricardo Villalobos WHERE & WHEN: Sneakerpeeps at Prince Bandroom (Melbourne) Friday 26 November, Stereosonic at Sydney Showgrounds Saturday 27 November, Sneakerpeeps at Metro Theatre (Sydney) Friday 3 December, Melbourne Showgrounds Saturday 4 December, RNA Showgrounds (Brisbane) Sunday 5 December
BACK IN TRAINING RETURNING WITH A NEW EP AFTER TWO WILDERNESS YEARS THAT SAW HIM MAKE HEADLINES FOR ALL THE WRONG REASONS, TIME APPEARS TO HAVE REINVIGORATED AND MELLOWED THE CONTROVERSIAL CHARACTER BORN CHRIS COPULOS BUT BETTER KNOWN AS MUSCLES, AS TRISTAN BURKE DISCOVERS.
econd album syndrome is a well-documented aﬄ ict ion, but when it comes to Auﬆ ralian dance labels, few have suﬀered the malady’s eﬀect quite like Modular. After a decade spent waiting for The Avalanches to follow-up Since I left You, rumours swirling of titanic member fall-outs and entire albums scrapped, the collect ive is ﬆ ill reportedly ‘clearing samples’. And while a comparatively acceptable three years have elapsed since Guns Babes Lemonade had neon-swathed feﬆ ival kids chanting its catchy refrains, creator Muscles has courted far greater controversy. Late 2008 saw the Melburnian likening his ﬆable to “a blind three-legged conjoined-twin kitten”, as he accused it of bumping him from the bill of artiﬆ showcase Nevereverland, before reportedly threatening to sue. And despite announcing the following January that his second album was “90 percent done”, a year later people were no closer to hearing evidence of Manhood ’s exiﬆence. This month sees Muscles ﬁnally return with new material, and though it’s a ﬁve-track EP rather than the expected longplayer, Younger & Immature is nevertheless a rollicking party piece that plays to its producer’s ﬆ rengths and ﬁnds him measurably less aggrieved in conversation than the contentious persona that came before. “After Guns Babes Lemonade’s unexpected success, I got the point where I was supporting artiﬆs like Daft Punk and The Chemical Brothers, and I really wasn’t prepared for all the ﬆ uﬀ that was happening, and was sort of learning as I went along,” a relaxed and humble Chris Copulos openly admits. “I really thought I needed to lift my game, so as soon as I ﬁnished touring I wanted to get ﬆ raight back into songwriting, but I made the miﬆake of juﬆ sitting in the ﬆ udio six hours a day and trying to force myself to write songs, until I realised it wasn’t really working. “Now I know that in order to make songs, in order to be inspired, you need to juﬆ push yourself out of your comfort zone, do things that you normally wouldn’t do – go out and see new bands or DJs, meet new people, go to new places. From a lyrical point of view it’s important to have experiences like that – something new generally inspires creation.”
Younger & Immature, to the surprise of many, sees Copulos retain his Modular home. His assertion that the high-proﬁ le fracas was essentially “a ﬆorm in the teacup” born from misconﬆ rued Twitter comments is admittedly a rather awkward accountability shift to swallow, yet he accepts that miﬆakes were made and learned from, while full of praise for the label’s ethos. “At the end of the day, like any business with record companies, you have disputes over things, you resolve them, and you keep going. When you’re part of a label like Modular that are really great, independent, and let their artiﬆs create what they like, it really is a family environment: – you can have a ﬁght, but then you make up and move on.” Copulos is targeting July or Auguﬆ 2011 to ﬁnally drop his second album. Whether he releases another EP before then is an issue he and Modular are undecided on. “We talked about following Younger & Immature with another EP Older & Wiser, than the album Manhood,” he reveals. Whichever comes next, chances are it’ll ﬆ ill incorporate some of the material he’s been dabbling with over the paﬆ two years; he’s juﬆ enjoyed requisite diﬆance now to be able to see the wood for the trees. “Writing’s a career – you’ll ﬁnd hundreds of unﬁnished songs on your computer, hundreds of beats, hundreds of melodies, and you can always go back to them,” he explains. “The more you accumulate, the more ideas you’ve got to play with to create songs. I think I wrote Forever even before Ice Cream, but couldn’t think of a second verse, so I eventually went back to it and it ended up becoming the ﬁrﬆ track oﬀ the new EP. “A lot of people don’t have time to liﬆen to a 12-track album these days; there’s been a real resurgence in the laﬆ six months or so of bands putting out EPs before their albums as a sort of teaser of what’s to come, and I think this new EP is a great bridge between the paﬆ and the future. It’s great for the live show, too, as now I’ve got more songs to play, and I’ve remixed some of my classic tracks to ﬁt in with the new ones, so it’s a new live experience as well as a noﬆalgic one.” With Muscles about to return to the tour trail, he’s in the process of conceiving upgrades for said live show and time has done little to dent his ﬂair for the dramatic. “I needed a break, but now I’m back I feel a lot more carefree than I used to feel, a lot more open, juﬆ ready to have fun and party,” Copulos proclaims; proof that while Muscles 2.0 may be lighter in outlook than laﬆ we saw, attitude’s an attribute he’s ﬆ ill plenty ready to ﬂex. WHO: Muscles WHAT: Younger & Immature (Modular/Universal) WHERE & WHEN: Eureka Hotel (Geelong) Thursday 4 November, Prince Bandroom (Melbourne) Friday 5 November, Mona Vale (Sydney) Thursday 11 November, The Gaelic (Sydney) Friday 12 November, Alhambra (Brisbane) Friday 3 December, The Cooly Hotel (Gold Coaﬆ) Saturday 4 December
THE COLOUR CEE LO SASHA PERERA GOES FACE TO FACE WITH THOMAS DECARLO CALLAWAY IN A LONDON STUDIO AS THE MAN KNOWN TO MUSIC FANS AS CEE LO GREEN RACES AGAINST THE CLOCK TO FINISH HIS NEW ALBUM – AND FIGHTS A BEHIND THE SCENES BATTLE WITH COMPETING LABELS ON ITS ULTIMATE DIRECTION.
rom his own underground solo career through to his breakthrough mainﬆ ream success with alternative duo Gnarls Barkley, Thomas DeCarlo Callaway has always been renowned as a risk taker. Emerging a couple of months ago with a new solo single called Fuck You! was another gamble for the 35 year-old Atlanta singer who goes by the ﬆage name Cee Lo Green, who says that despite his current success he wasn’t really sure how audiences would react to the single. Whilﬆ some might say the song’s gimmick was an easy ride to the top, using an expletive in the title of the ﬁ rﬆ single from your new album could quite easily be career suicide from an artiﬆ who’s renowned for doing everything he can to buck current trends. Luckily - and deservedly – for Callaway, the song has captured the attention and imagination of audiences worldwide and has resulted in one of the biggeﬆ anthems of 2010. With Callaway’s album The Lady Killer due out on November, it was somewhat surprising to catch up with the ultra chilled-out singer in a London ﬆ udio in October ﬆill working on the album. Surprising, because this year alone Callaway has featured on numerous soundtracks, released a mixtape of brand new material (Stray Bullets), and is reported to have already recorded plenty of new songs for this album. One would imagine that the singer already had more than enough material to pick from for the new set. “I do,” he laughs. “I have an awful lot of material to pick from – I’ve recorded almoﬆ 70 songs for this album, so the moﬆ diﬃcult part has been narrowing it down to about 12 songs that you get ﬁ rﬆ. I believe over a short period of time you’ll be able to hear new music here and there because I have so much of music that I recorded in relation to The Lady Killer.” Intereﬆ ingly enough, the single’s success means everyone wants to be involved in the album, and since the project is signed to two diﬀerent labels (Elektra in the US and Warner in the UK and Auﬆ ralia) the respect ive labels aren’t necessarily seeing eye-to-eye on what they’re expect ing from the ﬁnished album. “Everyone’s got an opinion! That situation is causing quite a bit of conﬂ ict,” he laughs. “The UK wants something a little bit diﬀerent whereas the US are a bit more traditional in that sense, but we’re working it out.” The smash international victory of Fuck You! would surely have caused a rethink at his record labels, who might otherwise have written oﬀ the project as juﬆ another low-key release. One would imagine that the crossover success would have meant that he was suddenly given a truckload of cash to add to his recording budget, and pay for the gorgeous ﬆ ring orcheﬆ ral arrangements that swirl around the album. “Well, we had already made the record in a ‘Big Black James Bond’ vein,” Callaway reveals. “I had said on a few occasions that I was trying to pickup where Barry White left oﬀ - I wanted that Love Unlimited Orcheﬆ ra type of sound, but ﬆ ill very urban. I really wanted a very sophiﬆ icated and grand ﬆ ring approach to the sound of the record, and so I had already incorporated that into the sound of the album well before the single took oﬀ. The songs on this album were all pretty much recorded before Fuck You! made it out there.”
Fuck You! inﬆantaneously catapulted Callaway into the upper echelons of the charts worldwide. From urban alternative to pop, it picked him up a new audience who were previously only aware of him via the Gnarls Barkley single Crazy. For those in the know however, Callaway is a longeﬆablished singer/ songwriter who has paid his dues over the years, despite the fact that some may think that his new success is juﬆ a result of his collaboration with 2010’s omnipresent pop boy-wonder Bruno Mars. “I met Bruno and his writing partner Phil Lawrence about a year or so ago – almoﬆ two years ago now’.” Callaway recalls. “I think they were ﬆaﬀ writers at that point for whomever, and I
was introduced to them through my A&R guy at my record label. Over a short period of time we juﬆ kinda all grew fond of each other, and we juﬆ shared a similar sense of humour about this and that. The song juﬆ ended up being a product of that working environment, so it was juﬆ a collaborative eﬀort. On a few occasions I’ve read that it was perceived that the song was written for me – as if it was scripted out for me – and I juﬆ want to be clear that that wasn’t the case.” The Lady Killer is a quality soul album from ﬆart to ﬁnish – lush in its orcheﬆ ration and arrangements, catchy in its hooks and melodies, and joyous and infect ious in its party spirit. Whilﬆ The Lady Killer borrows from the paﬆ, it’s certainly a very contemporary album in its own right. Fool For You and Old Fashioned are wonderfully seduct ive slices of soul, whilﬆ I Want You, Cry Baby and Satisﬁed shimmer with a retro-swing that is designed for optimum levels of party-delight. “Quality is my ﬁ rﬆ and only concern. I always feel like I’m doing music for the people, by the people. If I can touch them in a direct kind of way then I believe that I’ve succeeded in all that I wanted to do.” WHO: Cee Lo Green WHAT: The Lady Killer (Warner) out Friday 5 November WHERE & WHEN: Good Vibrations Feﬆ ival at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February, Gold Coaﬆ Parklands Saturday 19 February
KOMPAKT’S TECHNO BEATMAKER DOMINIK EULBERG’S IDEA OF A WALK ON THE WILD SIDE IS A COUNTRYSIDE RAMBLE WITH BINOCULARS IN HAND. HE TALKS THE MUSIC OF NATURE WITH TRISTAN BURKE.
n Germany there’s a bird that lives nearly its whole life in the air – eating in the air, drinking in the air, fucking in the air…” Dominik Eulberg has juﬆ done more than share a piece of fascinating ornithological trivia; he’s paid tribute to one of the everyday miracles providing the basis for his next artiﬆ album, due next year. “I’m select ing ten miracles that exiﬆ outside our front door, but nobody really knows about them. There’s one for each track, and it’ll be released next spring.” As Eulberg’s animated discussion of what’s currently occupying his time demonﬆ rates, talking shop with the German techno producer is to cover a far wider spect rum of subjects than typically arises from asking a musician why they make what they make. When he really gets cooking you might even hear Dominik illuﬆ rating the fundamentals of molecular physics, but beneath the heady concepts it all returns to a man who’s simply deeply smitten by earthbound marvels. “Today I was rambling for ﬁve hours, 20 kilometres, through the woods,” he says cheerfully. “It’s autumn now, they’re really colourful – this is the beauty of nature, the variety, that’s making me so thankful and happy of this life. Superﬆ ring theory says that all atoms are made out of ﬆ rings, and ﬆrings are music, so when I’m out with nature I’m always feeling these ﬆrings, and going back to the ﬆ udio. Like a painter paints a pict ure, I like to do an acouﬆ ical pict ure with my synthesisers.” Growing up in the rural region of Weﬆerwald, his father a nature scientiﬆ, Eulberg continues to ﬁnd comfort in seclusion. Whilﬆ some producers might thrive on the buﬆ le of concrete jungles, this one would rather inhabit a space where he can crank the volume up to 11 and only the local wildlife is likely to mind. “I have a small house in a foreﬆ, so there’s nobody around me to get upset if I turn the music up. When I was a kid my father showed me all the butterﬂies, birds and plants, so at six-years-old I already knew all the species,” he fondly recalls. “We had no television till I was 15; nature was my television. It’s ﬆill my big passion, my source of getting power, of creativity. I also ﬆ udied biology and worked as a
national park ranger in Germany, and I’m ﬆill working for nature organisations, counting birds every two weeks, and writing for a magazine about nature.” It was the sounds of Sven Väth and his 90s radio broadcaﬆ Clubnights, rather than calls of the wild, that drew Eulberg to techno – he freely admits to being ambivalent about music for the ﬁ rﬆ fourteen years of his life. “I heard the show on a ghetto blaﬆer with my neighbour friends, and I was like ‘oh my god! What’s this?’,” he explains. “I knew all the nature sounds and these were sounds I’d never heard, so I bought a synthesiser to get behind the secret of how these sounds were generated. For me the main queﬆ ion was how are these sounds being generated by elect ric
energy – how does this work?” Eulberg’s 2004 debut LP Flora & Fauna on the Traum Schallplatten imprint, which he somehow managed to craft while juggling his university ﬆ udies, met to rapturous acclaim. Given it was a concept album which saw him not only sample animals, but also pen a trackby-track teﬆ imony to his aﬀect ions on the cover, it was far from a prototypical techno record. But Eulberg insiﬆs that seeking popularity was never the goal. “When I can’t do techno music I get in a bad mood because when I’m making music I can release all my thoughts. I really feel happy when I ﬁnish a track because it’s like putting all my thoughts in a package, so I wasn’t really thinking about whether people would like it, will it be popular or not. I juﬆ had a cheesy computer, not even monitor speakers, so when I ﬆarted getting popular in Germany everybody was asking me what’s the secret, and when I showed them where my music was coming from they didn’t believe me.” Eulberg is an intriguing proposition: he’s forged a career in which travel is pract ically burnt into the job description, yet admits that it’s a life he’s ﬆ ill uneasy about embracing. “It’s not natural for me. I’m a very natural guy, who has their family, their village, moves 20 or 30 kilometres outside it, and then comes back. In the beginning I didn’t like it at all to go on tour. Even today when I have holiday I’m not going to Jamaica or Florida, I’m going to regions that are very close to here, because this is my home. But then I forced myself to learn that it’s good to see the world, to learn about it, to meet so many great people and see so many great inspirations. But I have to tell you, I’m always glad when I’m at home; this is my kingdom.” At leaﬆ Dominik Eulberg’s retirement plan is already in place, and while life as a park ranger in rural Germany might seem as far removed from techno production as could be, for Eulberg, the loves of his life aren’t mutually exclusive. “Music is nature for me – music is not a human invention, it’s everywhere.” WHO: Dominik Eulberg WHERE & WHEN: Kompakt 4 Tour at Luna Loca (Gold Coaﬆ) Friday
26 November, Barsoma (Brisbane) Saturday 27 November, The Royal Melbourne Hotel (Melbourne) Sunday 28 November, Subsonic Music Feﬆ ival Saturday 4 December
HAIL TO THE THIEF IT’S A FILM THAT WILL DOCUMENT AND REPRESENT THE WAY THAT WE COMMUNICATE FOR YEARS TO COME AND THE SOCIAL NETWORK’S JESSE EISENBERG TELLS SCOTT FITZSIMONS OF HIS SHEER ADMIRATION FOR THE MAN THAT MADE IT HAPPEN.
oﬆ all of the reports of Jesse Eisenberg, ﬆar of the ‘Facebook movie’ The Social Network, have been of an awkward kid, younger than his 27 years and sharing something of an aﬃnity with the man he plays – the world’s youngeﬆ billionaire Mark Zuckerberg. But sitting with Eisenberg in a hotel room overlooking Sydney Harbour, he’s less awkward than he is ﬁdgety as he plays with the top from his bottled water and thread from the seat, though his answers are delivered with convict ion. He’s also picked up the cold that descends on Sydney virtually every season-change and despite being regretful that he can’t shake 3D World ’s hand at the end of the interview – he goes through ﬁve tissues during our time – he’s fond of the city. The Social Network has underﬆandably attracted a lot of attention internationally – initially largely cynical. It is, however, a great ﬁ lm, evolving into a powerful ﬆatement on social interact ion and those relationships after a sluggish ﬁ rﬆ 15 minutes. It revolves around the court case initially brought to Zuckerberg in 2004, which claims he ﬆole the website idea, as it recounts the development of Facebook. “The way I viewed it is that they told him that they had the idea of the painting of a woman,” Eisenberg says of the case, quick to jump to Zuckerberg’s defence, “and Mark went home and painted the Mona Lisa. When I think about it in those terms I think Mark is totally defensible, you wouldn’t say that Leonardo da Vinci ﬆole the idea of the Mona Lisa from someone who told him to paint a women because you look at is as an art form and only one person could paint this incredibly evocative painting. “I view Mark the same way, he’s the only person that could have created this invention of Facebook and therefore when other people claim that he took their idea, Mark views it as juﬆ them wanting a piece of something that turned out really successful, because of him.” Eisenberg describes his character as “a revolutionary and a hacker”, and his wording is revealing. A rebel needs something to proteﬆ againﬆ and doesn’t view their act ions as a means to an end, whereas a revolutionary has a plan, an intended outcome. “I’ll tell you I felt more comfortable playing Mark four years later when he’s in these deposition rooms to defend himself againﬆ people who say he ﬆole the website,” says Eisenberg. “I feel comfortable playing that youthful and excited and inspired character but it was exhilarating to play him older and explore how he reacts to people he feels are out to deﬆ roy him and he has some pretty aggressive scenes in these deposition room scenes, and they were far more exciting for me.” The creation of Facebook took eight years, but the ﬁ lm moves at a remarkable rate, depict ing a lifeﬆ yle of alcohol and rock’n’roll for the programmers (indeed, individuals involved have been quoted as saying this is the way they’d much rather remember those years). The speed
THIS MOVIE IS JUST PROVIDING A VEHICLE FOR PEOPLE TO TALK ABOUT THE SOCIOLOGICAL SIGNIFICANCE OF ONLINE SOCIALISATION AND THE POTENTIAL DANGERS THAT THAT MIGHT BRING AND THE POTENTIAL BENEFITS.” serves the ideals of social networking, the rate in which we communicate in the modern age and the haﬆe in which meaningful relationships can be foﬆered and deﬆ royed. In this sense, The Social Network will be looked back upon as a touchﬆone ﬁ lm. “It’s taken on a cultural signiﬁcance beyond a way personally that we could have ever done. Th is movie is juﬆ providing a vehicle for people to talk about the sociological signiﬁcance of online socialisation and the potential dangers that that might bring and the potential beneﬁts. But that has less to do with the people who made the movie and more to do with the way the culture is absorbing it.” WHAT: The Social Network WHERE & WHEN: Screening in cinemas nationally
FEED YOUR HUNGER NICK CONNELLAN WALKS THROUGH THE HUNGARIAN CAPITAL OF BUDAPEST, DISCOVERING A CITY OF GRAND SYNAGOGUES, GUTTED PALACES, HIDDEN WATERING HOLES AND MEMORIES OF A PAST SPENT WITH STRANGE BEDFELLOWS.
ike all European cities, Budapeﬆ has a long hiﬆory. It began right about the time Jesus was born, when nomads wandered into modern-day Hungary and began building. Later, it was occupied by the Romans, who noted the thermal waters beneath the city and named it “Aquincum”. In 1361, after many years of ﬆ rife, it ﬁnally rose to prominence as the capital city. Th is wasn’t to laﬆ, however, as the Turkish Ottoman Empire swept through and conquered. After reclaimation by the Chriﬆ ians, Hungary was moﬆ ly peaceful until the 20th century. In more recent times, the country was ravaged after siding with Germany in both World Wars. In the Holocauﬆ, more Hungarian Jews perished than did those from any other country, despite leaders refusing to be the perpetrators. Soon after, the country fell under communiﬆ
rule when the Allies presented it to the Soviet Union for their war eﬀort. Th is rich, violent and varied hiﬆory has immensely gifted the third city in the so-called “Golden Triangle” completed by Prague and Vienna. The city is divided into two parts, with the mighty Danube River lying in between. The Weﬆern side, Buda, takes it’s name from a Hun
leader who ruled there. The newer, Eaﬆern side is Peﬆ, named after a Slavic word for oven, referring to a cooking method which originated there. Though there’s much competition between the two, Peﬆ is clearly the winner for visitors. It’s biggeﬆ drawcard is the Jewish Quarter. Despite the events of World War II, Budapeﬆ ﬆ ill contains more
Jews per capita than any other city in Europe. Grand synagogues are a welcome change from the Chriﬆ ian conﬆ ruct ions that dot the reﬆ of the continent. However, the real surprise is ruin pubs. After WWII, when so many Jewish homes were left empty, the drinkers moved in. The result is hundreds of hidden eﬆablishments, with many of them maintained in the same condition they were in the 1940s. The decor, furniture and sometimes even personal possessions were left as is. One bar even lets you drink while sitting in the shell of a former family’s car. North of the Jewish Quarter, in Varosliget park, visitors ﬁnd a wealth of hiﬆoric buildings. Moﬆ important, however, are the city baths, a cultural artifact courtesy of the occupying Romans and Turks. There are many bathhouses ﬆ ill remaining in the city.
Though Hungary may not play ﬆ rongly on the mind of travelling Auﬆ ralians, it’s faﬆ becoming a popular deﬆ ination for Brits and wealthy Europeans. Like moﬆ countries in Eaﬆern Europe, it’s cheap. However, with superior infraﬆ ruct ure and better organisation than its neighbours, it’s cemented itself as a hassle-free zone. Moﬆ locals speak at leaﬆ some English, but the Hungarian language’s closer relation to Asian tongues imparts a ﬆ range accent that other Europeans don’t possess. What else is there to know about Hungary though? Well, they’re immensely proud of their inventors. Ever heard of László Bíró, the inventor of the humble ballpoint? Hungarian. Ernő Rubik, the bloke who made that infernal coloured cube? Hungarian. Or perhaps the two fellows who ﬁ rﬆ isolated vitamin C? Okay, probably not, but they were Hungarian too.
Population: 1,721,556 Language: Hungarian National Drink: Unicum Average Annual Rainfall: 592.8mm (23.339 inches) Currency: Forint (AUD1.00 = HUF194.464) On the banks on the river lies another of Peﬆ’s worthwhile attract ions. It’s a modern undercover market, with the ground ﬂoor proﬀering a wealth of fresh food. Upﬆairs is a mass of swarming touriﬆs clambering over one another to try local dishes. Foremoﬆ is langos, a deepfried, pizza-shaped bread which taﬆes more like a doughnut. A range of sweet and savoury toppings are usually piled on afterwards. It’s Budapeﬆ’s classic late-night food for a preemptive hangover ﬆ rike. The world-reknowned Hungarian goulash is also on oﬀer, though locals admit that the paprika-heavy ﬆew isn’t act ually that popular. After a hearty meal, it’s juﬆ a short ﬆ roll across one of the many pict uresque bridges to reach Buda. Unlike Peﬆ, this side of the Danube is hilly. A dramatic palace overlooks the river, though the inside is non-exiﬆent, courtesy of
the Nazis. Rather, moﬆ touriﬆs head towards caﬆ le hill, a small enclave neﬆ led between medieval walls. It’s here that more upmarket reﬆaurants can be found, as well as the ﬆ unning views of the city. Finally, southwards, after navigating some very poor public transport, there’s Memento Park. After
Getting there isn’t as simple as ﬂying to London. For example, Qantas routes all their ‘direct’ ﬂights through Frankfurt before backtracking to reach the ﬁnal deﬆination. However, if you’re already in Europe, there are a wealth of airborne options. Easyjet, Hungarian Airlines and Eaﬆern Europe’s answer to RyanAir – Wizz Air – oﬀer a range of routes to Ferihegy Airport in Budapeﬆ. Incidentally, the aiport is named after a brewer, which is no surprise considering the quality of Dreher, the local drop. As a landlocked nation, Hungary is wellconnected by trains. Unfortunately, the trains can be much slower than the newer engines found elsewhere in Europe. The country is bordered by Auﬆ ria, Slovenia, Croatia, Romania, Serbia, Slovakia and Ukraine. Connect ion time to nearby capitals varies, but generally involves eight to ten hours worth of travel.
IF YOU LEFT TODAY? the fall of communism and the Iron Curtain in 1989, the city relocated all its monuments here, rather than deﬆ roy them. It’s a chilling experience to see giant-like ﬆatues of Lenin and imagine them inhabiting everyday life. Th is enthusiasm to embrace hiﬆory, good or bad, is exact ly what makes Budapeﬆ worth a visit.
British Airways ﬂys to Budapeﬆ (with connect ions). Return Airfare: $1916.26 (from Sydney)/ $2298.75 (from Melbourne) / $1929.05 (from Brisbane). Go to www. ﬆ udentﬂ ights.com.au for more info. Cheapeﬆ Hotel Room – Room only accomodation from AU$121 (per night twinshare) via www.expedia.com.au. Current Foreign Aﬀairs Status – Be Alert To Own Security. See www.smartraveller. gov.au for updates. Entry/Exit Requirement – Hungary is a party to the Schengen Convention, which allows Auﬆ ralians to enter Germany without a visa in some circumﬆances. Make sure your passport has at leaﬆ six months’ validity from your planned date of return to Auﬆ ralia.
MENTAL COMBAT Hip Hop With BLAZE
The lateﬆ volume in the Nu Elect ro series on Street Sounds is Volume 3 and the beﬆ feature about this release is that there are more songs with MCs and less of a techno inﬂuence. JuﬆIce and KRS One get a DJ Tones remix for Blah, Blah, Blah, whilﬆ Donald D and Brother B’s legendary B-Boys alias return after more than 20-plus years with Cozmo D’s Newcleus for the ﬆ unningly convincing We Devolve, while the ﬆ ill touring and recording Egyptian Lover hooks up with the exemplary TR-808 button pusher Brian E for their hypnotically authentic This Nu Elect ro. The biggeﬆ surprise was hearing the cosmic glider Captain Rock return with the kings of 80s elect ro-funk The Fantaﬆ ic Aleems on product ion for Dance And Party. So far so good, but then I hear MR P and The Gunslinger’s Juﬆ Another Day and my head explodes. Totally bionic with its early 2 Live Crew ﬆ yled raps, yet it’s delivered over a totally modern sound that has absolutely everything in it. Mancheﬆer’s one-man army AJ Beats knows how to keep the vocodered vocals simple and sparse and he’s also the only one who incorporates any scratching on his ﬆ unningly dope track Take Control. When I see that J-Double is from Orlando I thought that he might go a bit acidy nu-school breaks, but nope, he murders his tune 2 Tha Limit with killer vocoder, orcheﬆ ra ﬆabs and that special Floridian bass so endeared by that region’s Miami Bass culture. I’m ﬆ ill totally unfamiliar with the Sydney outﬁt Fatback4way, but they follow up their Volume 2 inclusion with yet another Darxid remix that evokes a more elect ro-funk vibe with their Roger Troutman talkbox aﬀected vocals ﬆ ill on display. Now I’m more of a 110-120bpm kinda guy, but occasionally I don’t mind tracks over 130bpm, as long as they are clean and uncluttered, hence my dislike for the overly ravey hard techno sound. The induﬆ rial slant is too far removed from the ﬆ yle I like and that’s why I wasn’t enamoured by the likes of Bloco Elect ro, N-Ter, Illektroid, Rob Real or Anthony Nuzzo’s contribution. The closeﬆ we get to a Miami Bass tune is Germany’s DJ Sonic with his incredible Magic Carpet Ride. It’s an orgasm of vocodered vocals, relentless hi-hats and a bullet-riddled bassline. As retro oriented as it might have appeared, it ﬆ ill sounds futuriﬆ ic to me. Fantaﬆ ic eﬀort.
SPEAK YOUR MIND RIP NICHOLSON LEARNS FROM NELSON HEDDITCH (AKA MC DIALECT) THAT THE MINIMAL GUEST CAST APPROACH OF THE DEBUT ALBUM DROP FROM ADELAIDE HIP HOPPERS DIALECT & DESPAIR IS ALL ABOUT BUILDING BRAND RECOGNITION.
iﬆening to the ﬁ rﬆ ﬆ udio release of Dialect & Despair, it becomes apparent that MC Nelson Hedditch (aka Dialect) was reared on New York’s true school hip hop. While the Adelaide DJ/MC one-two are from generation Y, they prefer to measure out the ingredients to their product oﬀ the Golden Era’s raw recipe. With support from one of Auﬆ ralia’s foremoﬆ purveyors of the traditional in Delta and two thumbs up from EPMD’s Erick Sermon, Dialect & Despair have released their ﬁ rﬆ LP The Vortex and intend to keep biting at the Big Apple’s original hip hop formula to illuﬆ rate their love of the art. Aptly named after the ﬆ udios where Dialect spits verses well beyond his years over producer Despair’s big beats of timeless hip hop, The Vortex’s Ageless demonﬆ rates Dialect’s ability as a natural MC. Here he ﬁnesses his rhymes and brings his lyrical ﬆeez and knowledge of hip hop’s art and cultural side to another level. “I had fun writing all my lyrics but that beat in particular had that classic hip hop feel and I was like ‘damn that track is juﬆ ageless, you couldn’t put a date to that kinda beat’. I guess when it came to writing the song I juﬆ wanted it to be real nice,” Hedditch says, “as it reﬂects how I feel about hip hop. It’s deﬁnitely one of my favourites.” Longevity also details Dialect’s thoughts behind the ﬆate of hip hop on the home front and poses the queﬆ ion on the ﬆ rength of a very grounded culture ﬆ ill reaching from the roots. “Man I can see it going any which way,” the young rapper predict s. “It’s ﬆ ill in it’s baby ﬆages. Aussie hip hop has had waves of popularity and [over the years] sales have dipped. It’s like skateboarding. You know skating was massive at one point in the 80s then it dipped but came back in the 90s again. But skateboarding is always gonna be there – you’re always gonna have skaties even if it’s not the moﬆ popular thing out. So regardless of what’s popular in music, and especially in Auﬆ ralian hip hop, people who love the culture will always be there, that’s what I reckon.”
The new album harboured only those privy to The Vortex ﬆ udios. MCs Delta, Motion and Social Change drop verses, surely only to give Dialect – an MC with so much to say – a moment to suck air. As Hedditch explains, for their ﬁrﬆ big outing Dialect & Despair wanted to solidify brand recognition. “That was a conscious decision. We juﬆ wanted to show this is our crew. We wanted to create that sound so people when know hear us they inﬆantly know, ‘yep that’s Dialect & Despair’.” During Auﬆ ralia’s recent EPMD tour, Long Island MC Erick Sermon co-signed Dialect And Despair’s hip hop - a moment young rapper Nelson Hedditch won’t soon forget. “He wanted to hear some beats so after the gig he came back to The Vortex. He was giving us info about the music induﬆ ry, about recordings, telling ﬆories, the full experience. We gained a lot from it and he had a liﬆen to the ﬁ rﬆ eight tracks (of the album) and really gave us mad props. It was surreal and really cool.”
WHO: Dialect & Despair WHAT: The Vortex (UKNOWHO Records)
He’s contemplating a fourth LP. Next year Sandberg will hit the feﬆ ival circuit with a new live show, incorporating video. He even credits his scoring that Panorama gig to Outpoﬆ’s success.
ANOTHER SPIN RESOLUTELY DIGITAL DJ LARS SANDBERG TELLS CYCLONE HE’S REDISCOVERING THE JOY OF THE VINYL MEDIUM WHICH HELPED LAUNCH HIS CAREER AS FUNK D’VOID.
ould emo-techno catch on? Seasoned DJ/producer Funk D’Void, aka Lars Sandberg, is touting a sophiﬆ icated new genre to counter the ubiquitous “elect ro punk-rock” he also slyly calls “ADD music”. “That’s the beauty about elect ronic music – you can juﬆ branch oﬀ into a hundred diﬀerent subgenres,” he cackles. “It’s good fun.” Sandberg deﬁes easy categorisation. At 21, his Auﬆ ralian mother, from a farming clan in Warrnambool, left for England, meeting his Swedish Dad. Sandberg then grew up in Scotland, where he discovered hip hop – and DJ culture. “I locked myself in my room for three months, grew a beard, and became a scratch mix DJ.” In the 1990s the elect ronic music convert introduced his George Clinton-inspired moniker Funk D’Void. Aligning himself with Slam’s Soma ﬆable in Glasgow, he’d put a fresh – and soulful – spin on Chicago house and Detroit techno, airing records like the Armando-sampling Jack Me Oﬀ. Today Sandberg resides in Spain. Here, until recently, he shared a ﬆ udio with Groove Armada’s Andy Cato. Berlin is the current hub for cool elect ronica, but this “family man” prefers Barcelona. “It’s a great city,” he says of Berlin, “but the climate’s too harsh. I’m all about quality of life. I’m looking outside my bedroom window now and I’ve got palm trees and a beautiful garden and the sun’s shining. I was in Berlin at the weekend and it was apocalyptic for me. It was great playing in Panorama Bar – I played the Sunday afternoon, it was my ﬁ rﬆ time there – but then you ﬆep out to this cold scorched earth... I’m deﬁnitely more into the Mediterranean vibe!” Sandberg is beﬆ known for Diabla, the deﬁning techno record of 2001, but he’s long been proliﬁc. In 2004 Sandberg presented the high-proﬁ le album Volume Freak. In later years, he’s been more lowkey. Still, Sandberg was responsible for the deep house Francois Dubois. And he’s had a jazz project, Chaser. However, Sandberg is generating a huge buzz with his lateﬆ venture, Outpoﬆ Recordings. And he’s produced another techno – or, ahem, emo-techno – anthem in Italoca. Sandberg is thrilled by the response to Outpoﬆ, joking that he’s had “more comebacks than John Travolta”.
And Sandberg is going back to his roots. He’s rediscovering the joys of spinning vinyl, despite being a digital DJ for nearly a decade. “I’m really falling in love with vinyl again, funnily enough – and the physicality of it.” At Panorama, Sandberg got a kick out of a drunk patron messing with his record. “I like the fact that anything can go wrong when you’re playing vinyl, so you can have that kind of edginess to it,” he laughs. Sandberg will now play vinyl regularly, although he ﬆ ill appreciates the “freedom” aﬀorded by digital technology. Indeed, Sandberg, who managed a record ﬆore for several years, discerns a renewed global intereﬆ in vinyl, including among young consumers. Outpoﬆ, he conﬁ rms, is pressing vinyl. That said, Sandberg is unsure how much vinyl he’ll lug all the way down to Auﬆ ralia on his return tour. “Maybe it’s time to bite the bullet and juﬆ do it. It’s not about convenience, really, is it? Th is whole generation is built on convenience. Maybe it’s time to remember the old days...”
WHO: Funk D’Void WHERE & WHEN: Deeper Sounds at Civic (Sydney) Friday 5 November,
Blow Your Own Way at New Guernica (Melbourne) Saturday 6 November, Subtrakt at Barsoma (Brisbane) Sunday 7 November
OGFLAVAS OG Urban news with CYCLONE
Juﬆ in Timberlake has hinted that he’s quitting music – or, at leaﬆ, he’ll no longer release albums. It’s all about act ing for him. Music gave The Social Network actor fame – and, in later years, credibility – but now he’s apparently set his sights on an Oscar. It’s very Andre 3000. More committed to music is hot newcomer Bruno Mars, although he’s not as edgy as JT, circa FutureSex/LoveSounds. Do you miss Babyface’s brand of 90s R&B and crave ‘proper’ songs? Then Mars (aka Peter Hernandez) delivers with his debut, Doo-Wops & Hooligans. Imagine if Robin Th icke had come up through the American Idol ranks. Yup, Doo-Wops is that mainﬆ ream. The Hawaiian multi-inﬆ rumentaliﬆ had already eﬆablished himself as a songwriter/ producer (and cameo artiﬆe) before blowing up with the beat-ballad Juﬆ The Way You Are. Hernandez has had a hand in hits from Flo Rida (Right Round), BoB (Nothin’ On You) and Travie McCoy (Billionaire). Indeed, he’s also a member of The Smeezingtons product ion team. Very early, Hernandez signed to Motown, but it didn’t work out. Hernandez specialises in traditional soul pop yet ﬆ rays into reggae and rock (he has Puerto Rican and Filipino heritage). Grenade is the kind of overblown ballad Ryan Tedder has trademarked – lite emo. The beﬆ of the reggae tunes is Liquor Store Blues with Damian Marley. The engaging Runaway Baby might be rockabilly performed by Michael Jackson. (Hernandez has a not-so-secret paﬆ as a junior Elvis impersonator – check out the ﬂ ick Honeymoon In Vegas!) The problem with Doo-Wops? Hernandez plays it super safe. He’s a bit... Coldplay. It’s a good thing that he has a sweetly husky voice as otherwise Doo-Wops would be too slick. Besides being a top melodiﬆ, Hernandez is an unabashed romantic – less thugged-up than huggable – and, even in Akon’s universe, that has its place. Hernandez has personality, too, his good humour evident on the ska The Lazy Song, one of the numbers critics compare to Jason Mraz. Doo-Wops concludes with a posse-cut in The Other Side, Hernandez joined by BoB and Cee Lo Green. At any rate, DooWops is an album that will sit nicely alongside Stan Walker’s From The Inside Out and Guy Sebaﬆ ian’s ﬆ uﬀ. As for OG Flavas? We’re holding out for Green’s The Lady Killer...
SUCK MY DISCO
The Tech Underground with NHJ & NIC Spring sucks, so pucker up and get busy! Firﬆ ly, another scene report from our Berlin correspondent... Toups has been once again maxi-raiding the ‘minimal wave’ resurgence, with a blinding show laﬆ weekend from No More! Famous way back in the deutsche for the track Suicide Commando, this duo owned with some bizarre technology, Nick Cave-like ﬆage antics and some killer cuts. Less famous Brits Oppenheimer Analysis hit King Kong club laﬆ Thursday, and unfortunately showed as much as anything why they remained less famous. Endearing in a wannabe Pet Shop Boys way, they reeled oﬀ that favourite of m-wave doyens The Devil’s Dancers and numerous nonhits like Science, Surveillance and Washington, the pixie like Oppenheimer cavorting and geﬆ uring like a devil’s dancer himself. In contraﬆ, Einﬆ urzende Neubauten’s sold out ﬆadium induﬆ rial show was... sedate. Deﬁnitely more of a ‘performance’ than an expression, applause is due for their way out buildﬆ ruments, but tears for the complete lack of chaos. Neubauten that a nan could love... Meanwhile, in the antipodes we got to see Addison Groove. The former’s dubﬆep-juke hybrid has been getting hype on the blogs, with even ex-breaks DJs catching on. Having missed the ﬁ rﬆ show the beﬆ we saw at the sparsely attended encore was UK two-ﬆep techno – not bad, but not livin’ the dream. So what is the dream? Check recent Planet Mu Footwork releases for a contemporary but more raw take on a sound that has evolved from the home of Dance Mania, crazy triplet rhythms, autiﬆ ic Fruity Loops sampling – we can ﬁnally play it oﬀ vinyl. Some more releases to watch for this month are Clause Four’s Be The One on Modern Soul – sampled elect ro boogie soul with a touch of the Detroit hump. We wrote about Lone’s Pineapple Crush in the laﬆ SMD and already his Emerald Fantasy Tracks album is about to be released. Bright techno and house with a touch of Aphex, early rave and Detroit, classic 707 and 909 drums and some freaky synths make it perfect for summer danceﬂoors. For your tightpant moods, Krautrock legend Dominik Von Sender’s collaboration with exMelbourne duo Hey Convict! has ﬁnally hit the shelves, so check out on the Golf Channel label...
DO THE SLICED POTATO WHEN CANZANI VALENTINO IS IN THE KITCHEN THE SOUNDS OF BAILE FUNK, HOUSE, UK FUNKY AND GARAGE GO INTO THE FRENCH FRIES RECIPE – AND GUIDO FARNELL LEARNS HE’S EXCITED TO BE READYING A FRY-UP FOR AUSTRALIAN FANS.
he Parisian dance scene has for many years delivered delightful sounds, from Dimitri’s carefree disco house to Ed Banger’s poﬆ Daft Punk bleeped-out elect ro madness. Lately the name on everybody’s lips has been French Fries, everybody including superﬆars like A-Trak, Diplo, Sinden and Calvin Harris – all of whom have gone crazy for his track Senta. Barely 18 years old, French Fries is Canzani Valentino who ﬆarted DJing and producing at juﬆ 14. It is something he was probably born to do. “My father is a sound engineer so I grew up in a ﬆ udio. I ﬆarted to produce before DJing,” Valentino advises. “I was always producing music, rap, dancehall and ﬆ uﬀ like that. It was Tchiky Al Dente the resident DJ at Favela Chic who asked me to burn some CDs and go to the club with him.” As it turned out Mr Al Dente threw French Fries in the deep end on the wheels of ﬆeel. “I went to the club with an old school rap select ion, he juﬆ said me ‘here’s play, here’s cue’ and after that I became resident DJ there for three years.” With juﬆ two massive tunes (Senta and Predator) and a plethora of remixes to his name, Valentino is surprised by the massive success he is currently enjoying. “I’m really happy to see all my favorite DJs playing my tune. I’m totally surprised, I mean Senta was a B-side. Everybody thought that Predador was the hit.” The success of Senta of course lies in its joyous fusion of baile funk, dancehall, dubﬆep and many other dance ﬆ yles to produce a fresh and exciting sound. “My tracks are always a mix of ﬆ yles. House, UK funky, UK garage, baile funk, guarachero, grime. I’m obsessed with the product ion technique, I can work four hours on a snare but I try to keep a ghetto vibe. My new project is completely diﬀerent, but it’s kind of secret for the moment.” Valentino is currently releasing his material on a label called YounGunz, which features a diverse but exciting new generation of upcoming French dance acts. So does he see YounGunz as the label that will ﬆep it up to provide a poﬆ Ed Banges sound. “I don’t think so. Everybody asks this queﬆ ion but I think it’s not the case because YounGunz always want to discover a new kind of ‘sound’.”
It seems that YounGunZ have been exploring fertile ground and French Fries explains that, “there is not one YounGunz sound, there are many YounGunz sounds. There are so many upcoming DJs that are worth checking out right now, – Bambounou, Sam Tiba, Canblaﬆer, Manaré, Pelican Fly, Jay Weed.” On all fronts French Fries seems to keep very busy. Fans can expect a new EP in the next month and he has juﬆ ﬁnished remixes for The Touch, Wildlife, Daniel Haaksman and an Amerie remix for Brodinski. Alongside favela funk ﬁ xated artiﬆs like DJ Sandrinho, Boo, Kazey and Bulldog he has help to put together a musical collect ive called ClekClekBoom which will soon ﬆart its own label. To date Valentino’s music has been released in digital format and he seems super keen to get some vinyl releases happening. On top of all this he is headed to our shores this week and is determined to rock the ﬂoor while he’s here. “It’s my ﬁ rﬆ time in Auﬆ ralia! It will be massive!”
WHO: French Fries WHERE & WHEN: The Espy (Melbourne) Saturday 6 November,
Brand Spank’d at Family (Brisbane) Saturday 13 November
‘BURN HIP HOP Local Flow with STEVE DUCK
TOM ENGELHARDT AKA PRIME REVEALS TO CYCLONE THAT THE DEBUT PAGEN ELYPSIS ALBUM IS AS MUCH ABOUT PERSONAL VALIDATION AS MUSICAL EXPRESSION.
uﬆralia’s ﬁrﬆ hip hop superﬆars, Hilltop Hoods, came ﬆ raight outta Adelaide. Now Pagen Elypsis, lauded by the Hoods’ Suﬀa, are hoping to follow them. The South Auﬆralian collective of MCs – Prime, Purpose, Pohetikut, Motive and Kadowg – have juﬆ dropped their debut album, One Way Ticket. But hip hop heads should catch them while they can – Pagen Elypsis’ members, especially Purpose, are juggling commitments to the crew with solo endeavours. Indeed, Pagen Elypsis might be Adelaide’s Wu-Tang Clan. Prime, aka Tom Engelhardt, even touts them as a collect ive over a group. “When there’s ﬁve people, you’ve gotta allow for diﬀerences,” he says. “A ‘group’ kinda feels like you’re walking in the same direct ion, whereas a ‘collect ive’ is people working together, and making music together, but they don’t necessarily always share the same ideas.” Pagen Elypsis have been extant since 2006, with Engelhardt the laﬆ to join. The posse circulated a mixtape, 007 Mixtape, in 2007 yet dispersed soon after. Engelhardt was among those in the fold keen to eﬆ ablish a solo career. “It wasn’t always about, like, ‘okay, let’s take a break’. It juﬆ happened while we were doing other things. That three-year break was also juﬆ us building the foundations to make all this other ﬆ uﬀ possible. A lot of the music was act ually ﬁnished a long time before the album came out. It was juﬆ building that platform to get it released.” Pagen Elypsis ﬁnally returned with the 2010 mixtape, mixed by Battlehoggs DJs Kansel and Snair, in preparation for One Way Ticket, which takes in joints like One Hit Away, on their own Double Or Nothing Records, when they could have knocked on Obese’s door. Engelhardt attributes this to Pagen Elypsis’ indie ethos – a very Adelaide ethos – but they also harbour their own label ambitions. “For the guys who are part of the label aspect of it, they’ve got bigger plans than juﬆ one album. They saw this album as basically ﬆep one in a multifaceted plan, as opposed to juﬆ making one album and seeing what could happen with it.” So what did Pagen Elypsis want to achieve with their debut? “We’d been doing shows around Adelaide, and we were building a bit of a reputation, but we ﬆ ill didn’t have that album to solidify what we’d been doing – and
that’s what we have now. We see it as ﬆep one – I don’t think this is the end for Pagen Elypsis at all – but it needed to happen in a proper way to validate what we’ve been doing for all this time. That ignores the musical aspect of it, I guess, but, the album itself, that’s why it exiﬆs – because we had to get it done ﬁnally to give Pagen Elypsis some sort of ﬁnality and meaning, rather than us juﬆ being an up-and-coming hip hop crew.” The collect ive descend on Revolver this weekend to plug One Way Ticket, and Engelhardt is amped. “We’ve done shows for a long time, so we know what we’re doing, but we’ve never put this much work into the preparation of our shows before. We’ve been rehearsing a lot, we’ve given it a lot more thought, we’re doing things real diﬀerent than we’ve done before... It really is tailored to the songs, rather than us juﬆ getting up and doing the ﬁve bangers oﬀ the album.
WHO: Pagen Elypsis WHAT: One Way Ticket (Double Or Nothing Records) WHERE & WHEN: Revolver Saturday 6 November
We’ll kick it oﬀ with news that some fans have been waiting for since the turn of the century. After a decade of gueﬆ spots, Melbourne veteran Bigfoot is ﬁnally ready to drop a solo album. Ten years after A Taﬆe Of Things To Come (that’s right, I remember that far back), Bigfoot will drop Giant Steps through Broken Tooth/Obese. Gueﬆ spots from Bias B, Brothers Stoney, Brad Strut and Fletchrock will give liﬆeners a classic Auﬆ ralian hip hop vibe, and beats from Bigfoot and Heata mean this one is gonna bang. Giant Steps drops Friday 12 November. When a press release for an event says “juﬆ rock up and dance 6pm til late”, it’s a pretty safe bet that me and my rhythm-deprived feet will not be attending. But if this is your thing, you’ll wanna be at The Push’s lateﬆ all-ages drug and alcohol-free event City Breaks. Th is will be the second inﬆalment of City Breaks, which aims to bring together the diverse hip hop and breakdance crews of Melbourne who are currently doing impromptu performances in public spaces throughout the CBD. City Breaks is free to both participants and spectators, so even guys who could never even uprock (ie me) can roll down and enjoy the show. Th is one happens Friday 5 November at Signal, Flinders Walk Northbank, which is behind Flinders St Station towards Sandridge Bridge. Get there from 6pm onwards. Quick plug for Wax Museum, who are doing the monthly jam thing again on Saturday 6 November. The monthly jam is once again happening at Croft, where you’ll see Mexi, Paypercutts, Lotek and Jellyfish spin alongside residents Aux-1, Baby Lotion, Mixa, Geezey and Inkswel. Entry is free before 10pm! So before we ﬁnish up here for another week, don’t forget Prophet Rayza’s new joint 6 Books is ready to drop. The Brisbane MC has followed up The Spits And Pieces mixtape with a new EP, featuring product ion from Daneja (New York), Dats (The Optimen), Tommy Illfigga, DJ Butcher and Prophet Rayza himself. Plus on the mic, Rayza gets assiﬆs from Tommy Illﬁgga, Adverse and Hua. Cop 6 Books when it drops through Born Fresh Records on Friday 12 November. In the meantime you can also check an EP preview on YouTube. Search Prophet Rayza.
THE ALBUM OF WEEK
VARIOUS/STEPHANE POMPOUGNAC Hôtel Coﬆes 14 VARIOUS/TENSNAKE Tensnake In The House (Defected/Stomp)
Every year or so, house music throws up an anthem of undeniable genius. Dennis Ferrer’s Hey Hey aside, 2010 has been owned by Tensnake’s Coma Cat. Challenging what an ‘anthem’ should be, Coma Cat is almoﬆ completely vocal-less, inﬆead relying on that unforgettable keyboard melody and a healthy dollop of disco cheek. Fitting then that Defected should duﬆ oﬀ their In The House series and ask the German producer/DJ to show us what else he has up his sleeve. According to Defected what he has will bring the sound of the 90s back to the danceﬂoor; yet this assertion is somewhat misleading as the ﬁ rﬆ of two mixes here is very much rooted in the disco-boogie sound of the early 80s, full of walking pace disco beats, funky guitars and dubwise spaciousness. Not surprisingly highlights come from Prins Thomas, his remixes of both Al Usher’s Lullaby For Robert and The Chemical Brothers’ Swoon soaring oﬀ brilliant guitar lines. Elsewhere Carol Williams’ Cant Get Away, a 1982 original, ﬁts perfect ly, Crazy P’s remix of Lovebirds recalls the work of Chuck Love while Kathy Diamond’s vocals on Kaine’s Love Saves The Day are to die for. The second disc is the one ﬆ irring up all the intereﬆ, Tensnake wonderfully conjuring the feel of the underground house sound of the nineties, of DJs like Tenaglia, Knuckles, Farley and Heller, Sneak and Junior Vasquez, NY clubs like Twilo and Tunnel and the earlieﬆ Miniﬆ ry Of Sound Sessions compilations. His bringing back of those unintelligible vocal loops and ﬁ ltered disco cut-ups is inspired and blends splendidly with Coma Cat. The set ﬁnishes back in the eighties with Armando’s acid and an all time hands-inthe-air anthem in Phase II’s Reachin’. Paﬆ and the present coming together to give us all hope for the future. DARREN COLLINS
It’s common pract ice for hotels around the world to skip the thirteenth ﬂoor, often by simply renaming it the fourteenth. It may seem silly to some but not to the curators of Paris’ famed Hôtel Coﬆes, who have now gone on to apply their superﬆ itions to their music compilation series, going ﬆ raight from volume twelve to volume fourteen. By the time a compilation reaches its thirteenth edition its luck (and relevance) may well have worn out yet the Hôtel Coﬆes series keeps pushing along with more luxurious, jet-setting, designer beats from resident selector Stéphane Pompougnac. While musically little has changed along the journey, the niche the Hôtel Coﬆes series occupies in the market (and its
Chase Cut To The Chase EP
(Independent) Adelaide wordsmith Chase Britton is a multiple MC battle champ who has been on the grind since 2002 and the new ninetrack EP Cut To The Chase is waﬆ ing no time in aﬃ rming his place. Boxing Without Gloves and Insanity sees Chase pitch his rhyme rate and mind ﬆate to set a rapid ﬂow for the EP. The underlying piano loops bring out the consciousness of the rhymes and works well. And Untouchable shows how the rapper holds down battle supremacy. The ﬁ rﬆ track from well-known producer J-Squared The Real Deal features Dribbles and Lariken and C-Haze smokes one to Interrupted with J-Squared again, who ﬆamps a fantaﬆ ic swing set in the middle of this jam directed toward those who politely interrupted the MC’s life. But on third J-Squared joint he leaves Living The Dream too ﬆacked in beats which drown out what the MC has to say. Closing in on What Can I Say and back to the basic beat reels and vintage loops of Rotten Produce, Chase’s mind reads clearly as he raps again about the inspired-high he seems always in search of. RIP NICHOLSON
sumptuous packaging) continues to guarantee sales. Th is time around it’s more of the same as laidback jazzy Frenchness rubs shoulders with elitiﬆ deep house and bourgie boom-bap. Th is one kicks oﬀ on the right note with some vaguely Latin and reggae-tinged house remixed by Gilles Peterson, a sensationally dubby, atmospheric Kotey remix of Tosca and a heavyweight, deep Latin house collaboration between Boozoo Bajou and Afterlife. Switching it up, Duptribe and Ben Cocks bring folksy happiness, Tontelas and Ski make like a hip hop Barry White while Dreadzone’s American Dread is perplexingly zany dancehall-Irish jig fusion. Flight Facilities’ Crave You blends a cutesy vocal from Giselle with a now-you-see-it-now-youdon’t elect ro bassline, while the pretty deep house melodies of Quarion’s I Found You On Facebook drags us onto the danceﬂoor. DARREN COLLINS
(Ninja Tune/Inertia) Brendan Angelides, aka Eskmo, has his ﬁngers in all the beﬆ pies, like Warp Records, Planet Mu and moﬆ recently Ninja Tune. His Hypercolour single made a splash in 2009 with its undulating bass and twinkling synths, and 2010 sees his return in the form of a selftitled debut. Firﬆ single Cloudlight introduces liﬆeners to the characteriﬆ ic Eskmo sound of crispy textured basslines. The vocals and tempo of We Got More manage to make the track sound like elect ronic blues, while the swinging bouncing bassline forces a head nod on The Melody with clever layered breakdowns throughout. Unfortunately it’s easy to become loﬆ in the ambient reverb of tracks like You Go, I See That and Communication, which come across as ﬁ ller to bulk out Eskmo’s work into an LP. A shorter album could’ve resulted in a much tighter package and his ﬆand out work such as We Have Invisible Friends (Washed Mix) wouldn’t get loﬆ in the crowd. Although there are dull points on this debut, Eskmo is ﬆ ill at the forefront of quality elect ronic producers. JO LETTENMAIER
ONE TRACK MIND !!! AM/FM
(Warp/Inertia) It feels like a long time since !!!’s classic punkfunk anthem Me and Giuliani Down by the Schoolyard, and I suspect they agree: with its more hip hop-derived breaks, lush production and slyly murmured vocals (plus a great guitar solo), AM/FM feels more like a late eighties/ early nineties summer of love aﬀair.
VARIOUS/DONNI 1 Ku De Ta 4 (Level Two/Shock) The paﬆ few years have seen Donni 1 complete his transformation from Melbourne house hero to king of the resorts, along the way making the Ku De Ta series, named after the Bali resort/hotel/bar where he is resident DJ and creative director, one of the beﬆ downtempo compilations on the market. Always ﬆ unningly presented, Ku De Ta, to this point, has contained a chilled mix and a nice, yet ultimately superﬂuous, DVD. For the fourth edition Ku De Ta have upped the ante, especially for fans of Donni 1’s Freakazoid club ten years or so back, replacing the DVD with a bonus house mix from the man. The regular chillout blend ﬆarts brilliantly with the lazy acouﬆ ic guitars of the Gram’ma Funk (Groove Armada’s I See You Baby)-voiced
FLATWOUND Super Space Dope Funk
(One World Music) The funk has been noticeably absent from dance music sensibilities over the paﬆ ﬁve years, but Sydney duo Flatwound seem intent on rect ifying the imbalance – singlehandedly if required. The unlikely partnership of hip hop DJ/producer Jack Preﬆ and veteran multi-inﬆ rumentaliﬆ CJ Soulman has found common ground in the place where house and disco meet, and Super Space Dope Funk is a mission ﬆatement for a record which pulses with funkadelic bassline grooves. Expressive Moog leads prepare you for liftoﬀ as Soulman’s simple bass loop powers Moon Spread, Again rolls on and on with the sort of relentless energy that wouldn’t be out of place in a Desyn Masiello funk-feﬆ circa 2005 while Space Station Africa brings drums, Rhodes and nonsensical vocal loops to the fore. It’s all carefully geared towards the danceﬂoor, be it early doors or peaktime, but there’s a musicality to the music of Flatwound which lifts it above mere danceﬂoor fodder – an obvious touchﬆone is Pnau’s Sambanova, and there’s no reason Flatwound can’t scale similar heights if punters catch on to what the ‘heads’ already know. KRIS SWALES
Universal Unfolding, drum’n’bass-tinged jazz of Tape Five, J Boogie’s sublime weﬆ coaﬆ hip hop-jazz-soul and Bella Donna’s fusing of Martin Luther King and Kool & The Gang’s Summer Madness. From here though Donni throws in some surprises and takes some risks with Purple Avenue’s faithful cover of Eﬆelle and Kanye’s American Boy, the somewhat jolting house beats of Tosca and horribly out-of-place classicalmeets-sitar of local Bali artiﬆ Saharadja. The reﬆ, thankfully, is of a quality that ﬆands up to previous editions. The house mix ﬆays true to Donni’s trademark ﬆ yle as he blends 15 years of soulful, jazzy deep house from the likes of Maﬆers At Work, E-Smoove, Jon Cutler, Jay-J, Joey Negro and the Blaze classic Breathe. It’s a mix that will appeal more to the old school Freakazoid crew than kids looking for cheap ‘bang’. DARREN COLLINS
RUSTIE Sunburﬆ EP (Warp/Inertia)
Born from the same fertile Glasgow scene as leftﬁeld hip hop wunderkind Ross Birchard (aka Hudson Mohawke), Ruﬆ ie’s Warp debut EP Sunburﬆ act ually acts as more of a counterpoint to Birchard’s candy-ﬂavoured futurebeat cacophony than a companion piece. The key word for the release is ‘brevity’ – delivering ﬁve tracks in less than 14 minutes, Sunburﬆ is less about overwhelming the liﬆener with colour and more about showcasing Ruﬆ ie’s ﬁnesse and musicality as a producer. Dragonﬂy is a prime example. A simple grime rhythm carefully decorated with swelling synths, chopped-up vocals, barely articulated glitch melodies and an unrelenting fuzzed-out bassline, Dragonﬂy only comprises a handful of ideas but Ruﬆ ie nevertheless weaves the product ion’s disparate elements into a dynamic and memorable piece. There is a rampant eclect icism throughout the release that can’t help but recall Mohawke’s frenetic work (Beaﬆ Nite, for example, features chiptune melodies, elect ric guitar leads and a ﬆ ring sect ion) but, for the moﬆ part, Sunburﬆ ﬁnds Ruﬆ ie carefully cultivating his own compelling voice as an artiﬆ. MATT O’NEILL
(Warp/Inertia) Of course Seefeel’s decade-plus absence makes their return even more ﬆartling: on Faults they sound ﬆartlingly modern, eschewing both the blissed out digital shoegazer of their early work and the eerie IDM of the mid-90s in favour of nervous poﬆ-dubﬆep rhythms and disorienting guitar feedback. The hypnotic, sensuous thump of the title track and its twin Folds are the picks of this EP.
DEADMAU5 & WOLFGANG GARTNER Animal Rights (EMI)
Deadmau5 seems increasingly discontent with being relegated to the prog-trance niche, and Animal Rights is a fairly naked attempt to get some love from more fashionable types, though I wonder whether sounding like a dirty French house anthem from about 2000 is really a fashion worth adopting ten years on. TIM FINNEY
3DPLAYLIST 3D 1. Crooks & Lovers MOUNT KIMBIE 2. Fabric 55 SHACKLETON 3. Tracers (Deadbeat Remix) SCUBA 4. ZZafrika ZZT 5. Faithful WORLD’S END PRESS 6. Ushuaia Day MOTORCITYSOUL 7. Derezzed DAFT PUNK 8. Rave Review SKISM 9. Abﬆ rakt Fusion ZEPHYR TIMBRE 10. African Drug BOB HOLROYD
HOME AT THEIR OWN LABEL AND TAKING THINGS DAY-TO-DAY, ANTHONY ‘KRAYZIE BONE’ HENDERSON OPINES FRANKLY WITH RIP NICHOLSON ABOUT THE NEW ALBUM OF, AND CHEMISTRY WITHIN, BONE THUGSN-HARMONY.
t’s been ten years at leaﬆ since the ﬁve original members of Bone Thugs-NHarmony have assembled on one album, and accompanying Uni5: The World’s Enemy is an Auﬆ ralia tour for Krayzie, Layzie, Wish, Bizzy and Flesh-N-Bone. With the braids cut oﬀ and weed oﬀ the menu in 2010, the Cleveland mainﬆays of harmonised hip hop are back together for now. “We’ve got a few issues but hopefully everything will work out and we can get on this tour,” Henderson says reassuringly of the continuation of the Bone Thugs saga. “Everything is cool man, we taking it one day at a time. We tryin’ to get everything together, it’s a very positive vibe going on at the moment.” Laﬆ time Bone Thugs appeared in Auﬆ ralia they were saddled amidﬆ a cavalcade of Weﬆ Coaﬆ juggernauts in Ice Cube, WC, Snoop Dogg and Tha Dogg Pound, but only three members of the group were involved. Both Bizzy Bone and Flesh-N-Bone have been through tumultuous times of late with Flesh having been incarcerated for a lengthy term and Bizzy almoﬆ preferring to ﬆay disconnected, insiﬆ ing that he remain a gueﬆ to the skeletal core of Bone Thugs-N-Harmony. The groups dynamic is ﬆ ill on tender hooks, but at this ﬆage the fab ﬁve should unite before us on various ﬆages across the nation this month. One of the ﬁ rﬆ to break out of the US Midweﬆ, Bone Thugs-N-Harmony are pioneers of a unique ﬆ yle of rapid-ﬁ re raps delivered through harmonised vocals, known as the “Cleveland Sound”. They formed in 1991 and saw their ﬁ rﬆ underground album Faces Of Death released two years later along with a recording contract with Eazy-E’s Ruthless Records. By ‘94 their debut ﬆ udio EP Creepin’ On Ah Come Up was followed sharply by their higheﬆ-selling ﬆ udio LP, 1995’s E 1999 Eternal containing their smash hit Grammyawarded single, Crossroads. The entire project
was produced by label mate and sixth member of the crew DJ U-Neek who continued to work their ‘97 album The Art Of War, 2000’s BTNHResurrection and has become the catalyﬆ to the Bone Thugs formula made famous at Ruthless Records in the aftermath of NWA. After the 2007 album Strength & Loyalty (under Swizz Beats’ direct ion) the Thugs moved out of an uncomfortable situation within Interscope Records and headed up their own imprint, Bone ThugsN-Harmony Worldwide. They reverted back to working with long time cohorts DJ U-Neek and LT Hutton to season it and as Henderson explains, it was an important move to cook up the new album with DJ U-Neek for those original beats sliced right oﬀ the thuggish-ruggish bone. “When we got ﬆarted on this we always had the idea of involving Neek on the project. And that’s exact ly what we did. We had other producers on the album as well but we deﬁnitely wanted to make sure we that U-Neek vibe and ﬂavour back in there as well.” But despite numerous reviews heralding the MCs for maintaining their unfaltering ﬂow on this album, Krayzie admits it was U-Neek’s ﬆandard of beat-making that wasn’t up to par. “We wanted to bring U-Neek into the fray, but I told him his product ion isn’t what it used to be back in the day,” Henderson admits, “we had a lot of songs that didn’t go on the album and got loﬆ in the fold of things. We plan on putting those songs out like, on a loﬆ tape, loﬆ ﬁ les kinda album but we deﬁnitely wanna get them out.” Also a contributing factor to the album sliding for under 45,000 units sold inside it’s ﬁ rﬆ week was ﬁ fth Bone Thug Bizzy Bone, who seemed intent on his own divine queﬆ throughout the LP. “Honeﬆ ly, we all ﬁnd that to be ﬆ range. We even try to talk to him about ﬆ icking to the subject of the songs but like, a lot of things that he’s going through right now, no-one can really get into his mind right now. I juﬆ think we’re fortunate enough to get him in the ﬆ udio and record with him for the album.” After several delays to the album’s release, in May their ninth LP Uni5: The World’s Enemy dropped and againﬆ all odds was awarded four out of ﬁve ﬆars by XXL Magazine. It brings Bone Thugs-NHarmony back into cohesion and down under for what will be a landmark occasion, ﬁve friends who have always seen themselves ﬆanding alone againﬆ the world on one ﬆage together. “We always thought we were going againﬆ the grain in our careers,” Henderson answers in reference to the meaning behind the The World’s Enemy title. “We’re always the outcaﬆs and the outlaws of the induﬆry. We always felt that we had to show that we can ﬆill do it after all these years.” And with 30 million records sold, they are building a legacy of over 17 years now – and according to Krayzie Bone, it ﬆ ill feels special. “Oh yeah, it’s ﬆ ill a wonderful thing. We ﬆ ill and will always love making music. We’re true lovers of music, you know being able to get back in the ﬆ udio and do what we do together, it’s a wonderful thing. We can ﬆ ill make a ﬆatement and we feel our presence is ﬆ ill felt in the game today.” WHO: Bone Thugs-N-Harmony WHAT: Uni5: The World’s Enemy (Warner) WHERE & WHEN: CBD (Newcaﬆ le) Wednesday 10 November, The Gaelic (Sydney) Thursday 11
November, Southern Cross Events Centre (Canberra) Friday 12 November, The Espy (Melbourne) Saturday 13 November, The Grand Hotel (Wollongong) Sunday 14 November, The Gaelic (Sydney) Sunday 21 November, The Espy (Melbourne) Monday 22 November
VIC & NSW
IN NO RUSH
ONE TIME MEMBER OF THE NINJA TUNE STABLE VADIM PEARE IS FORTHRIGHT WHEN HARRY PEARL QUIZZES HIM ABOUT HIS OLD LABEL HOME, PREFERRING TO MOVE FORWARD WITH HIS WORK AS DJ VADIM.
don’t wanna release other peoples music. Well, not at the moment, maybe I’m going to eat my words, but right now I don’t want to.” Sound like the head of a newly eﬆablished record label? Perhaps it’s a ﬆ range notion in a modern, growth-obsessed capitaliﬆ economy, but at leaﬆ part of the business model for Vadim Peare’s recently ﬆarted Organically Grown Sounds label is juﬆ that. The Russian-born, London-raised producer better known as DJ Vadim is content to grow his already considerable discography alone, having learnt from his ﬁ rﬆ ill-fated foray into the world of label management with Jazz Fudge that it’s easier to concentrate on your own output than deal with the often misguided expectations of others. “It’s juﬆ everyone has diﬀerent expectations for their music and one of the worﬆ things in the world is like, you sign people to a label and suddenly people think, ‘Oh my god, you’re the label somehow you’re meant to make them huge mega-ﬆars’.” With an 11 year partnership with Ninja Tune, a brief ﬆ int in A&R and, more recently, a licence agreement with BBE, it’s fair to say that Peare is familiar with the traps of the music induﬆ ry. And despite a desire not to get himself too entangled with the day to day management of other artiﬆs, he’s more than prepared to look after his own aﬀairs. “I ﬆarted with Jazz Fudge and I’m going back to being on my own label,” says Peare, only juﬆ audible down a particularly poor phone line from London. “In 2010 it juﬆ makes economic sense. I know how the syﬆem works – I know the PR companies, I know the promotional agencies, the DJs, the radio ﬆations, blah blah blah – so I don’t need to pay or give someone 50 percent of my proﬁts for them to do something that I can really do myself.” In an induﬆ ry that’s so enamoured with both hype and hyperbole, Peare’s honeﬆ y and forthrightness is as refreshing as the music he makes. Having ﬁrﬆ made a name for himself as a talented and proliﬁc member of the Ninja Tune ﬆable in the late 90s, the tireless producer, performer and collaborator has gone on to cement himself as a true icon of the underground hip hop scene in the UK. And while his rise was initially associated with Ninja Tune, looking back, he’s clearly not prepared to perpetuate some of the myths that surround the London label. “I’m not going to describe Ninja Tune as a family and ﬆ uﬀ like that,” Gurov oﬀers when queﬆ ioned about his relationship Ninja Tune, who’ve recently celebrated their 20th anniversary. “I never felt like it was a family, even though people put this myﬆ ical kind of relationship on it. I know some of the artiﬆs there and I like some of the music. I know they have a role to play in, I suppose, underground music, and they have put forward some great music, but it’s not like I’m ﬆanding there aweﬆ ruck going, ‘Oh my God, it’s the Jesus of music’ – it’s one of many labels. I mean I don’t want to belittle what they’ve done, but I don’t want to say it’s like the parting of the sea or something.”
VIC & NSW
Perhaps it’s the nature of the diminutive Londoner not to get too caught up in noﬆalgia, but considering the label has played hoﬆ to some of his beﬆ work over the years, it’s a particularly candid response. Regardless, since he parted ways with Ninja Tune in 2006 he’s never ﬆopped growing the Vadim sound, and has subsequently released some of his beﬆ work. 2007’s Soundcatcher and 2009’s U Can’t Lurn Imaginashun are both maﬆerful lessons in moulding an overwhelming range of inﬂuences into a coherent album. Both combine snatches of funk, reggae, disco, and soul – all tied together by Vadim’s well sharpened beat-making intuitions. As such, Vadim will have plenty of musical ammo to draw from when he hits Auﬆ ralia this week, and will no doubt be ﬁ lling at leaﬆ part of his set with new material. While he admits he’s got screeds of unﬁnished solo tracks sitting on his hard drive at home, fans are bound to be exposed to some of his new collaborative work with US MC Pugs Atomz and UK neo-soul singer Sabira Jade. The Elect ric, as the group is called, is the ﬁ rﬆ scheduled release on Organically Grown Sounds. At face value it’s a similar combination to his short-lived but well received hip hop-soul combo, Oneself, but Vadim is adamant The Elect ric has a diﬀerent sound and came together in quite a diﬀerent way. “Yes it is true that there are connotations to Oneself, but for me this is a bit diﬀerent, we really did make The Elect ric album on the road – the album’s ﬁnished, that’s coming out next year – but it felt very diﬀerent to the way we created Oneself.” Having successfully supported Fat Freddy’s Drop throughout Europe this year, The Elect ric are well on their way to gaining a wider audience themselves, but for now, Auﬆ ralian audiences will have to remain content with Vadim’s eclect ic and dynamic solo set, something he says is inﬂuenced primarily by the mood on the night. He’s certainly not averse to an encore, either. “If there’s a good vibe I’ll come back on, it’s not like – music has never been for me like, hey it’s an hour contract I get paid $10,000 and I’m not going to play a single second over my hour, you know what I mean? It’s not like that. If there’s a good vibe in the club and the people really want more, I’m gonna come back and do more.” WHO: DJ Vadim WHERE & WHEN: The Espy (Melbourne) Friday 5 November, Tone (Sydney) Saturday 6 November
TOM EVANS WHERE AND WHEN WAS YOUR FIRST SET? “Was in 2005 at a local night club in Brighton called Mint Bar. It’s not there anymore but I think it had the worﬆ reputation in Melbourne.” WHATS YOUR FAVOURITE ALL TIME 12”? “‘Joris Voorn – Blank or Francois Dubois – I Try, can’t choose.” WHO ARE YOUR FAVOURITE DJS? “Locally I’d say Gavin Keitel, Dave Pham and Mike Callander. Nick Jones too he’s my beﬆ mate but I really admire his drive for what he does.” FAVOURITE CLUB TO PLAY? “Q Bar would slot in at the top of the liﬆ. Never a dull moment in that joint and great bunch of people. Closely followed by Onesixone and Brown Alley.” WHATS YOUR BEST ALL TIME GIG? “Any Likes Of You event is a massive highlight. Any night at Q Bar is also very eventful.” WHAT’S THE WORST REQUEST YOU’VE GOT?
“Miley Cyrus would have to be up there. I was playing at LaLaLand in Byron Bay earlier in the year and a girl asked me if could turn the music oﬀ so she could make a speech for her friends birthday. I politely declined then she asked me if could at leaﬆ play Happy Birthday for her.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “Mum is my beﬆ friend so she is very supportive. It took her a while to warm to it, she underﬆands it all though. Dad doesn’t underﬆand why I bother, as long as I watch the V8 Supercars with him he’s ﬆoked.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST. “Less Politics. Less Grudges. More party goers.” WHAT GIGS HAVE YOU GOT COMING UP? “Qbar Thursdays and Saturdays, Onesixone Fridays and Saturdays, Circus Saturdays and Sundays, The Likes Of You Sunday Summer Series at Revolver, The Likes Of You at Brown Alley Friday 10 December, Summadayze at Sidney Myer Music Bowl Saturday 1 January, Future Music Feﬆ ival at Flemington Racecourse Sunday 13 March.” PHOTO BY KANE HIBBERD
DJ STIFFY’S WIDE WORLD OF SHORTS STRONG A$ MAKES PEOPLE HIGHER, MORE OFTEN The surging Auﬆ ralian dollar has had a big impact on Auﬆ ralia’s imported recreational drug prices, pushing prices to record lows. Street prices of European-manufact ured ecﬆasy, Mexican cocaine and South-Eaﬆ Asian heroin have hit rock bottom. Inveﬆors are currently picking up large quantities to hedge againﬆ inﬂation risks. Jenny Cum (not her real name), a commodities trader with Nasal Capital (not its real name), said that holding capital in recreational drugs was proving to be the safe-haven many inveﬆors have been looking for. “The American dollar is currently suﬀering the market equivalent of triple penetration. The money shot is going to be some sort of ﬁnancial bukkake. Putting it all in cocaine means that when the Aussie dollar ﬁnally tanks early next year, every idiot from the banking sector is going to be depressed and needing to get very high.” But it is consumers who are currently beneﬁting. Street brokers of the imports are oﬀering incentive deals juﬆ to attract new cuﬆomers, with mobile phone ﬆ yle plans of $600 of drugs per month for juﬆ $59. “I’ve been high for seven days in a row now,” says Ravey Davey (his real name), a principal at a leading Sydney private school. “It’s been booﬆ ing my perceptions of the ﬆ udents. They all seem so much nicer. I no longer want to shoot myself on the way to work.” “Arrrmmmmmmazzzzsss,” says Ronald McDonald, a Footscray heroin user. “Ssssshmmmmj, ﬀ ﬀ ﬀ rghhh, fuck you.” But there has been a downside. Local producers of methamphetamines who are usually subcontracted by bikie gangs to supply ﬆove-top pharamaceuticals are feeling the pinch. They are unable to compete with cheaper imports and are considering lobbying the government for ﬁnancial assiﬆance. Bong and Rizla sales, generally a solid economic indicator for the domeﬆ ic marijuana market, have also tanked. “Th is community’s been decimated,” says Rainbow Dolphin Child of the peak body of Street Commodity Retailers in Nimbin. “There used to be about 120 to 150 cars a day looking for purchases. Now we’re lucky to see two. Generally they’re already high and are juﬆ tyre kicking to see what’s out there.” While these are buoyant times, pundits are warning people not to get carried away. “It’s easy to put all your money into coke and think all your Chriﬆ mases will come at around Chriﬆ mas time, and before you know it you’ve gone through an entire hedge fund at the oﬃce Chriﬆ mas party,” says Cum. “And basically you have to ﬆeal your way out of that. The legal implications there are juﬆ horrendous.”
1. Jopte JULES & MOSS 2. Riding the Edge (Camea Acid Remix) AFTERNOON COFFEE BOYS 3. Let The World Spin GRINSER 4. Underground Railroad SASCHA DIVE 5. Bells And Spells PHIL KIERAN 6. Voxplosion B JPLS 7. The Bleep Factory MATT JOHN 8. Crude PATRICK SIECH 9. Stomp That NICOLE MOUDABER 10. Black Horse Down PAN-POT
YOUTUBE OF THE WEEK
It was almoﬆ too easy to select this week’s recipient, but shining a light on Daft Punk’s Derezzed from Tron: Legacy isn’t (entirely) rampant fanboyism – it happens to be the beﬆ piece of music they’ve delivered in a long, long time. The fact that it’s soundtracking some unbelieveable special eﬀcts trickery is an added bonus.
WE REACHED 1 BILLION VIEWS ON YOUTUBE LITTLE MONSTERS! IF WE STICK TOGETHER WE CAN DO ANYTHING. I DUB U KINGS AND QUEENS OF YOUTUBE! UNITE!’’
LADY GAGA WILL HAVE TO WRITE A SONG ABOUT HER LATEST VICTORY – THE MOST VIEWED ON YOUTUBE. IN YOUR FACE JUSTIN BIEBER.
WHAT INSPIRED YOUR DJ NAME? “Mine, my father’s and grandfather’s names. Kind of a family thing.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Mainly funky tech house. If it’s got lots of swing and groove, I’m into it. Have also been known to break out the odd dirty elect ro house set.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Rainer Weichold – Tango for Noemi (Ramon Tapia Tango Bango Remix).” WHAT MADE YOU START DJING?
YOU’VE SEEN IN A NIGHTCLUB? “Not so much a night club, but an eccentric outback pub we have had a few parties at. Their outdoor ﬆage is an ex-parade ﬂoat of a giant mermaid. Fun times.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Don’t really liﬆen to bootlegs, barely enough time to liﬆen to new legit tunes.”
“Helping run bush dance parties. Always enjoyed supporting grassroots DJs play and eventually gave it a shot myself.” WHAT’S THE WEIRDEST THING
THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Do you have anything that’s not techno?”
WHERE & WHEN: Dorothy’s Friends at The Peter Lalor Stables Friday 19 November, Unﬆable Sounds at The Saloon Bar Saturday 21 November, Unﬆable Sounds at Loop Saturday 27 November
KISS FM CHART 1. Universal Cryout MATA & MUST 2. Dark Matters AGENT 86 3. Get Busy (Club Mix) DARREN GLEN 4. Holidays (Sam Sparro & Jesse Rogg Mix) MIAMI HORROR 5. She DUOSSEUDO
3D AT CBD NIGHTCLUB THE IDEA BEHIND OUR NIGHT IS… “To keep the underground rave scene alive!”
WE’LL BE PIMPING THE SOUNDS OF… “Everything from trance to hardcore, trance, tech trance, hard trance, hard dance, psy trance, hard techno, hardﬆ yle, hardcore!” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Scott Alert, Hellraiser, Soul-T, Maﬆer Kaos, St. Luke, Dr. Willis, M-Experience, JFX, X-Statik, Kid Dyl, Skeata, Gazmatron, Wr3ckless, Euﬆace, Kemikal Konjeﬆ ion, Chris X, De-Gen, Snuf.au and weekly local, interﬆate and international gueﬆs.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Open Decks Nights. Every week on level two we open the decks to Melbourne’s up and coming DJs to give them a chance be heard on a big syﬆem. Expect the unexpected with DJs playing everything from dubﬆep to induﬆ rial hardcore.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Party! 3D is renowned for its happy, friendly vibe. Come with an open mind and leave the attitude at home and you’re guaranteed to have a rockin’ night out! “
6. Th irﬆ y KELDAMUZIK 7. Starduﬆ JIMMY LE MAC 8. Day Into Night KATALYST 9. Promise Part 3 KOSHOWKO 10. Downtown Underground (Dublin Aunts Mix) DIRTY LAUNDRY
THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Th ree levels of madness with trance, tech trance and hard trance on level one, open decks on level two with a mixture of all ﬆ yles and the harder ﬆ yles up on level three, 3D has something for everyone.” WHERE & WHEN: 3D at CBD Nightclub every Friday
COURT-SIDE Ranking very high on a liﬆ of people no one
would want to be right now is serial girlfriend basher Matthew Newton. The troubled actor faced court laﬆ week, slapped with an AVO by ex girlfriend Rachel Taylor for two unprovoked assaults that occurred in Auguﬆ of this year. Newton, who assaulted Taylor after proposing to her in Rome, pleaded guilty and agreed to a two year intervention order. Th is shocking behaviour has been the climax of Newton’s very public and rapid fall from grace in recent
times – but it is certainly not his ﬁ rﬆ. Hiﬆory seems to be repeating itself, as juﬆ four years ago Newton was charged with assaulting his then girlfriend – act ress Brooke Satchwell – who he reportedly punched in the head and attempted to gouge her eyes and face. Trashing hotels is another one of Newton’s paﬆ imes which he has also faced a number of charges for this year and laﬆ. While a role on Underbelly in 2009 and select ion as the hoﬆ for Channel 7’s The X-Factor this year seemed to be promising developments for Newton, his inner demons and notorious temper seem to have gotten the better of him once again. Anger management anyone?
SUSHI SNAPS 1 Damselfly 10 Year Birthday and Pop-Up Store Launch
3 Mama Said @ Circus
2 Kiss FM
4 SINthetic @ Abode
1 1 3
1 3 2
CO. Stand And Deliver: DJ Petar Tolich. 9:30pm. Free before 11pm. LOUNGE Lounge Wednesdays: DJs PCP, Matty Radovich, Amy Matilda, Mahatia. 9pm. $5. LUCKY COQ Coq Roq!: DJs Lady Noir, Agent 86, Kiti, Mr Thom, Joybot. 9pm. MISS LIBERTINE FRONT ROOM Elements: MzRizk, Sizzle, Duchesz, Ghostsoul. 8pm. Free. MISS LIBERTINE BACK ROOM 6 Feet High and Rising: Julez, Dragonﬂy, Class A, Next Stop Automatic. 8pm. $5. NEW GUERNICA Fromage Disco. Free.
THURSDAY ALIA BAR Hoochie Mama: M.A.F.I.A. and Miss Beats. 10pm. Free. CO. Funhouse: Finlo White, Scotty E. 9:30pm. Free before 11pm. THE COMFORTABLE CHAIR Comfy Beats. 6pm. Free. EUREKA Muscles, Strange Talk, Th ieves Of Aon. 8pm. $12/ $7 pre-sale. FIRST FLOOR Ring The Alarm: Jesse I, DJ Major Krazy. 9pm. Free. FUSION Rhythm-Al-Ism: Damion De Silva, Funkmaster Rob, A-Style, K Dee, Simon Sez. 9:30pm. HOME HOUSE Jim Danza, Herbee & Guests. LOUNGE Paz, Citizen.com, Smile On Impact. 9pm. $5. LOOP Mood: Tuan Besar, Johan ELG . 9pm. Free. LUCKY COQ Free Range Funk: Who, Agent 86, Lewis CanCut. 7pm. MISS LIBERTINE FRONT ROOM Knee Deep: Louis McCoy, Luke Bruin, Mack the Knife. 8pm. Free. MISS LIBERTINE BACK ROOM Racket Experimental: Mark N, Spherix, JPS, Xian, Cloud Speaker, Netzair, John Nguyen, James Wright, We Emanate. 6:30pm. $5. NEW GUERNICA DJ Negativ Magick, Post Percy, Nu Balance, James Kanes. 10pm. Free. PRETTY PLEASE Spinderella, Anna Lunoe, M.A.F.I.A., CC:Disco, Larrie. 9pm. $15 / $20. REVOLVER The Villas with Clowns, Cold Hiker. 8pm. $5. THE TOFF Love Story: 1928, Sleeves, Tranter, Megawuoti, Supremes, TDAH. 11:30pm. Free.
FRIDAY 3D Master Kaos, Scott Alert, St Luke vs JFX, Kid Dyl, Skeata, X-Statik, Snuf.au , Techtronic, Sif, Hiltzy, John Smith, DJ E-Lias, Razoric, James Mac, Gatty, Gatstace, Eustace, Ptronestice (Practice & Trone). $18/$14. ABODE Mezzanine: DJ Count X. 10pm. ABODE T Bird Club. 10pm. CO. Papparazzi: Nikkos, Joe Sofo, Kitty Kat. 9:30pm. Free before 11pm. CUSHION After Dark: Tom Lally, Harry Brownbill, Danceﬂoor Terrorism, Samantha Cooke, Walker, Jody McLeod, Luke Will, Silversix, Dean Del, DaSilva, Kid Kodi. 9pm. EUROTRASH Mu-Gen, NXR. Free. THE ESPY LOUNGE BAR DJ Vadim, DJ Sarah Love, Th ief & Wolfgramm, Rusty. 6pm. FESTIVAL HALL Jason Derülo. 7:30pm. $79.90. FUSION Sounds Of Fusion: Grant Smillie, DJs Dean T. Phil Ross, Johnny M, DJ Atomik. 9:30pm. $10/$15. HI-FI BAR Illy, Skryptcha, 360. 8:30pm. $15 + bf. HOME HOUSE DJs Jim Danza, Herbee, Syme. LA DI DA Like Disco: Luke McD, Phil K, Mark Pellegrini.
LOOP Esty & Augustus. 10pm. Free. LOUNGE Mr Moonshine, DJ Who Play, Hey Sam, Popeye, Muska, Tahl. 9pm. LUCKY COQ Panorama: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. MISS LIBERTINE Purple Sneakers: Wilfred Jackal, PhDJ, Em-Sem, Badhorse, RundosRun, Poncho Djz. 9pm. $12. MY AEON The Clarity 3rd Birthday: B6. $10 guestlist. ONESIXONE A20. NORTHCOTE SOCIAL CLUB World’s End Press. 8pm. $10 + bf/$12 on door. PRETTY PLEASE Bad Habits: Anna Lunoe, Opulent Sound, Oohee, M.A.F.I.A., ’96 Bulls. 9pm. $10 / $15. PRINCE Muscles, Strange Talk, Th ieves Of Aon, Romy. 8pm. $25. REGATTA HOTEL Paul Bell, Scotty R, Tom Walker. 8pm. Free. REVOLVER Mike Callander, Lewie Day, Nick Jones, Craig McWhinney and Christian Vance, Stevie Mink, Kizzam, Heath Renata, Katt Niall, Bianca White and Holly J, Sunshine. 10pm. $8 before midnight/$15 after midnight. ROXANNE PARLOUR Boysnoize Records Night: Strip Steve, Das Glow, Rynecologist, Glass Mirrors, Harris Robotis, Kris Baha, Nick Foley, Trumpdisco, D-Manual, Mu-Gen, Not Another DJ, ZEE (Live), Marco Polo, Vinnie Van Go. 9pm. $35 pre-sale. SIGNAL City Breaks: Matt Fernandez. 6pm. Free. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free. TRAK DJ Spinderella, Ashley (Pussycat Dolls). $26 + bf (pre-sale)/$30 on the door.
SATURDAY ABODE N-tice: Jon-E, Steve Punch, Syme Tollens.9pm. BIMBO DELUXE Phato Amano, Adam Askew, Peter Baker, Sam McEwin. CIRCUS BAR Mama Said: Jacob Malmo Vs Liam Waller, Daniel Tardrew Vs Matt Kovic, Jesus Feat Matty Charles, Oliver James Vs Virginia Le, Jay Ueta, Kenan Huric, Jamie Lamittina. CO. Envy: Nikkos, Joe Sofo, Kitty Kat. 9:30. $12/$15. CROFT INSTITUTE Wax Museum Jam: Mexi, Lotek, Paypercutts, Jellyﬁsh. THE ESPY BASEMENT Humidity Entertainment, Primary Source, Jester Crew, The Lounge Detectives. 9pm. THE ESPY LOUNGE BAR French Fries, Polygon Palace, The JSBs, Mu-Gen, Phil Para. 6pm. EUROTRASH Eurotrash House Party: 1928, Sleeves, Mu-Gen, Megawouti, DCeed. 8pm. $5 before 10pm/$10 after. FESTIVAL HALL Jason Derülo. 7pm. $79.90 + bf FUSION Replay: DJ Femme & MC Lady Lauryn, DJs Tate Strauss, Dean T, Nova, Johnny M. 9:30pm. $15 before 11pm. THE GLASSHOUSE Juice Box: M.A.F.I.A, Miss Beats. 9pm. $8 before 11pm/$10 after. HOME HOUSE Herbee, Anth’m, Syme, Jim Danza. KHOKOLAT BAR Khokolat Koated: Damion De Silva, K Dee, Jay Sin. 9:30pm. $5 before 10pm. $12 guestlist/$15 general. LA DI DA Poison Apple: Tom Piper, Chardy, Chango Phat, Ross Horkings, Bianca White, Clint Morgan, Nick Kennedy. LOUNGE Darren Coburn, Luke McD, Nick Coleman. 9pm. LOOP DJ Zanda, Mr Nice and Ego, DJ Lickweed. 10pm. Free. LOFT The Loft Saturdays: Scotty Erdos, Phil Ross,
Nick James, On Time. 8pm. LUCKY COQ Textile: Pacman, Jean Paul, Sam McEwin, Tahl, Kodiak Kid, Moonshine, Ash-Lee, Dj Volta. 9pm. Free. MISS LIBERTINE Miss Libertine 4th Birthday: Emsem, Hans DC, Mz Rizk, MicKa5K, Dave Pham, Matt Radovich JPS, Neptune’s Trident. 6pm. Free. NEW GUERNICA Blow Your Own Way: Funk D’Void, Christian Vance, Mike Callander, Myles Mac, Andy Hart, Mike Gurrieri, Bryce Lawrence, Kate Miller. 10pm. $20 + bf. ONESIXONE Audioporn: Agent 86, China, James Ware. 8pm. PRINCE BANDROOM Superdisco: Louis La Roche. PRETTY PLEASE Good Manners: Shazam, Deacon Rose, Dublin Aunts, ’96 Bulls, Beetlejuice. 9pm. $15 / $20. REVOLVER Pagen Elypsis, Maundz, Syntax, Neat Street, Matik. 9pm. $13 + bf/$15 on the door SYN BAR Sin City Saturday: Ryza, Kay Z, Cdubb, Dir-X, Julz, Drax. 9pm. $15/$10 guestlist. THE TOFF The House deFrost with Andee Frost.
SUNDAY CO. Be: Damion De Silva, Jay J, Ken Walker, Lighting, Rev, Hoesty, Ever. 9:30pm. $5 guestlist before 10pm/$12 after/$15 general. CIRCUS BAR Circus Sundays: Luke McD, Nick Young, Aaron Trotman, Nick Young, Tom Evans, Rowie, Katt Niall. 8pm. FUSION Sunday Sounds: DJs Marcus Knight, Collin McMillan, Mr Timothy + Dean T. 9:30pm. $10. LOVE MACHINE Gossip Sundays: DJs Haylenise, Stoj, Peter McNamara. 9pm. LUCKY COQ Sth Side Hustle: Askew, Booshank, Paz, Miss Butt, Jumbo, Junji, Disco Harry, Pete Baker. 7pm. MISS LIBERTINE Mission Cambodia Charity Event: Men Imitating Machines, A13, Aﬃks, AC23, Same-o, LJ, Low Qui, Cubist, Miss Bonnita, David Bass, Kano, Paypercutts, Fraksha, Guy Nice, Louie Knuxx, Aux One. 4pm. $10. NEW GUERNICA Spike, Faux Real. 8pm. Free. REVOLVER Boogs, Spacey Space, Radiator and T-Rek. $15. ROBARTA Notorious: M.A.F.I.A. and Miss Beats. 10pm. Free. THE SAINT HOTEL Holy Smokes. THE TOFF The Sunday Set: DJs Andyblack And Haggis. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.
YOU’RE IT RICHIE MELDRUM INVESTIGATES RAPPER TAG, THE NEW ONLINE CRAZE CURRENTLY SWEEPING THE NATION – OR AT LEAST ITS MCS. Rapper Tag? What the fuck is it all about? Well it’s the sum of its parts and pretty selfexplanatory when you think about it. You know rappers yeah? And you know how to play ‘tag’ yeah? Well imagine… wait for it… rappers playing tag! That’s it, you got it – kind of! Th row in the amazing communication opportunities oﬀered by YouTube and the interweb and we have a new game that has been spreading through Aussie hip hop faﬆer than herpes in a whorehouse. It ﬆarted oﬀ with Melbourne based rapper Matt Colwell aka 360, who saw the idea being done in the States and nicked it for an Auﬆ ralian version. So, here is the tech spec – one rapper records themself doing a short rap over some beats (written by Staylz Fuego), at the end of the rap they ‘tag’ another rapper by naming them, which means that person has to go next and record their own rap before ‘tagging’ someone else and so on and so forth. The videos are then poﬆed on YouTube and www.rappertag.com for our viewing pleasure. At the time of going to press and only one month after Colwell ﬆ arted it oﬀ, we’re already at number 12. “I guess it’s a bit of fun really,” the originator says. “It’s good to see everyone getting involved in it and I guess it’s a good bit of promo for everyone that does it. It’s been a pretty crazy response, heaps of people are getting into it and loving it.” There are few rules to follow which is always good. The rappers can rap about anything they want, from the slick comedic rhymes of #4 Fraksha claiming that he keeps it “smooth like a girl with no vagina hair” and #6 Newsense who delivers his performance while taking a shit on the dunny, to more emotional topics including #8 Hunter and #9 The Maﬆer who reveal their personal battles with ill health. The same ‘take it as it comes’ approach extends to the plan for where the concept will go next – basically there isn’t one. “I wouldn’t mind getting tagged back in and doing it again but I guess its up to whoever’s turn it is,” Colwell says. “I wouldn’t mind seeing someone tagging a group so its more than one person doing the verse at once, if you could get a duo or something like that where they go back and forth for a bit that would be sick. I like that it’s gone from every extreme through all kind of rappers from every kind of background not juﬆ speciﬁc to one ﬆ yle or anything. It’s juﬆ going everywhere, so I juﬆ want to keep going.” As well as being fun, it’s also an example of
how the current generation of musicians and performers are ﬁ nding new ways of getting themselves into the spaces where the audiences are. “The whole induﬆ ry has changed with inﬁ nite downloads and shit like that,” Colwell says. “Album sales have dropped, so it’s really about ﬁnding other ways you can get your shit out there and promote the shit out of your ﬆ uﬀ and make little ideas like this work in your beneﬁt. You’ve got be really on point with that shit. If you’re juﬆ doing gigs and releasing CDs you sort of get overlooked.” So is there any scope for this underground project to poke its head a little more into the mainﬆ ream? “I reckon it deﬁnitely could,” Colwell concludes. “I would love to see maybe one the Bliss N Eso dudes or one of the Hilltop Hoods dudes get down with it. That would be crazy.” Sounds like the gauntlet has been thrown down, someone tag them in quick!
SHOUTOUTS TO THE KID I SAW WALK INTO A POLE THIS MORNING. WALKING - YOU’RE DOING IT WRONG.’’
OH, MR SHEEN! Hollywood bad boy Charlie Sheen is in trouble again. Sheen, who plays half a man on the wretched sitcom Two and a Half Men, is at the centre of a real-life drama involving a trashed hotel room and a porn ﬆar cowering in the closet. Yes indeed, it’s juﬆ business as usual for Mr Sheen, the poﬆer boy for spoiled rich kids. It’s easy to dislike Charlie Sheen. He didn’t take a Greyhound bus to Hollywood with a head full of dreams and no money in his pockets. No, Charlie was raised in Hollywood with a sense of entitlement and a famous dad who helped him get ﬆarted. For a while, in the 1980s, the plan was working. Young Charlie lent his minimal talent and Malibu good looks to ﬆarring roles in ﬁ lms like Platoon and Wall Street, which were considered good movies at the time, even though they are act ually crap. Charlie was the Shia LaBeouf of his day. Handsome, bland and completely forgettable. Scandals involving proﬆ itutes, drugs and violence towards women meant that the wheels fell oﬀ Charlie’s career as a movie ﬆar. By the time the 80s rolled into the 90s he was whoring himself in ﬁ lms like Hot Shots! and Major League. To keep busy between ﬁ lms, Charlie continued with the hookers, the drugs and the violence towards women. He was in and out of rehab, he did some more drugs, then he made sequels to both Hot Shots! and Major League. Th ings were getting desperate. Finally Sheen washed up on TV, ﬁ rﬆ in Spin City, then in the unspeakable Two and a Half Men where he seems to play a more family friendly version of himself (TV Charlie doesn’t pay the women he sleeps with and they don’t take AVOs out againﬆ him). By all ﬆandards, Sheen’s career should have been over. But he seems to be have made a deal with Satan, because Charlie’s sitcom is the moﬆ popular show in the world and he is the higheﬆ paid sitcom ﬆar in hiﬆory. How many more hotel rooms have to be trashed? How many more porn ﬆars have to be traumatised? How many more episodes of that awful show need to made? Charlie has had it to good for too long. Satan needs to renegotiate the deal, before the Prince of Darkness himself is found cowering in a hotel room closet. DAVE JORY
THE HILLTOP HOODS ONE OF AUSTRALIA’S TOP HIP HOP ACTS ARE ALSO A CONSTANT SOURCE OF INSPIRING ADVICE FOR ALL THE UNCOORDINATED KIDS OUT THERE.
THE LOVED ONES DOUBLE PASSES The Loved Ones is a vivid, sexy rollercoaﬆer of a ride that takes the conventions of horror and runs them oﬀ the rails. Starring Xavier Samuel, Robin McLeavy and Victoria Thaine, the ﬁlm tells the ﬆory of Brent ( Samuel) who has never recovered from the night of the car crash that killed his father. After turning down the advances of the quieteﬆ girl in school Lola (McLeavy), a terrifying series of events take place under a mirrored disco ball, involving pink satin, glitter, syringes, nails and power drills. The ﬁlm is out this Thursday 4 November and 3D World have double passes to give away. For your chance to win email your name and address to firstname.lastname@example.org with LOVED in the subject line. Entries close Friday 5 November.
PERSONALITY TEST DJ MANCHILD
HOW WOULD YOUR MUM DESCRIBE YOU? “Well she did hear the announcers on RRR breakfaﬆ talking about me recently so she took it upon herself to call them up and tell them everything that nobody could possibly care about.” ONE GENRE TO REMOVE OFF THE FACE OF THE EARTH AND WHY? “I went to a venue where my brother worked and the music there was oﬀensive in so many ways. Firﬆ it juﬆ hurt sonically but then I got slapped down visually when I saw the sort of people that like it. He said it was called ‘happy hardcore’ which doesn’t sit right with me.” WHO INSPIRES YOU MUSICALLY? “James Brown, Fela Kuti, R.Kelly, Curtis Mayﬁeld, Stezo, Public Enemy, Vince Peach, Kano, Stan Magro and more.” NAME THREE TRACKS CURRENTLY DETONTATING YOUR DANCEFLOOR? “Fela Kuti – Shakara, Pattijo – Make Me Believe in You, DâM-FunK – Hood Pass Intact.” TELL US ABOUT A CLASSIC CLUBBING MOMENT? “More of a gig than club but it was at WOMAD with The Public Opinion. We were on ﬆage and juﬆ about to perform to more than 10,000 people, our biggeﬆ crowd by miles at the point. One of our Ghana-born singer/ dancers Kuukua ﬆepped up to the mic and in a beautiful loﬆ-in-translation moment informed
the crowd to ‘get ready because we are going to blow you all oﬀ ’. 10,000 punters and 20 band members all fell about laughing.” ONE RECORD YOU’RE EMBARRASSED TO ADMIT OWNING? “I’m not embarrassed of anything, although my ever ﬁ rﬆ record was the soundtrack to Young Einﬆein (on ﬂuro pink vinyl!).” WHAT’S ON THE TOMBSTONE? “Nothing on my tombﬆone, I’ll be cremated then used to season a ﬆeak that will be fed to wild mountain wolves.” WHERE & WHEN: Soul-A-Go-Go at The Johnﬆon Saturday 6 November
JKLMNOPQRSTUVWXYZ 3D WORLD’S A-TO-Z OF DANCE MUSIC GENRES A B C D E F G HI
THIS WEEK: JAZZ HOP That fusioniﬆ Herbie Hancock preempted jazz hop in partnering with hip hop DJ GrandMixer D.ST for the elect rofunk Rockit. Rockit, co-produced by bassiﬆ Bill Laswell, appeared on his 1983 Future Shock. It would become the ﬁ rﬆ pop hit to feature scratching (D.ST selected a Fab Five Freddy record). When Hancock performed Rockit with D.ST at the Grammies, it turned on B-boys like Mix Maﬆer Mike... Much later, Gang Starr’s MC Guru released a full-scale jazz hop project in Jazzmatazz, Vol 1. Gang Starr, who sampled Dizzy Gillespie for their debut single Words I Manifeﬆ, had already collaborated with Branford Marsalis on Jazz Thing for the soundtrack accompanying Spike Lee’s Mo’ Better Blues. For 1993’s ‘solo’ Jazzmatazz, Guru secured an extravagant caﬆ of gueﬆ jazz musicians, including Donald Byrd. He’d issue four Jazzmatazz albums, the laﬆ independently in 2007. The MC always rejected the
term ‘jazz hip hop’ as a media conﬆ ruct. Guru underscored the aﬃnities between (an improvised) jazz and hip hop, but he wasn’t alone. The Native Tongues acts De La Soul and A Tribe Called Queﬆ also made music diﬆ inguished by jazzy textures, and MCing, with ATCQ’s The Low End Theory particularly avantgarde – or ‘abﬆ ract’. Like Digable Planets, beﬆ remembered for Rebirth Of Slick (Cool Like Dat), both groups worked with – or sampled – jazz musicians. The Native Tongues fold were inﬂuenced by New York’s Stetsasonic, an early hip hop ‘band’ – they’d sampled Lonnie Liﬆon Smith on Talkin’ All That Jazz. One of Stetsasonic’s founders was future De La Soul producer Prince Paul. Ironically, 60s artiﬆs such as The Laﬆ Poets foreshadowed jazz hop – and, in fact, hip hop – with their blend of spoken word poetry and jazz. Jazz musicians, too, were attracted to hip hop. Trumpeter Miles Davis teamed
MEET THE CREWS DUB CLUB MELBOURNE CREW MEMBERS? “Dub Club Melbourne and the Heartical HiFi Outernational crew.” WHY DID YOU GUYS START PROMOTING PARTIES? “There are Dub Clubs in many cities around the world, this was the inspiration to come up with a Dub Club Melbourne to help promote an international ﬆ yle reggae and dub scene in Auﬆ ralia.”
A TRIBE CALLED QUEST
with an up-and-coming Easy Mo Bee for Doo-Bop, poﬆ humously released in 1992. (Easy subsequently produced The Notorious BIG.) But not every jazz great dug the ‘new’ black music. Branford Marsalis’ traditionaliﬆ younger brother Wynton was a critic of rap. Labels capitalised on the commercial potential of jazz hop, some cynically, with Blue Note launching Us3. With access to Blue Note’s back catalogue, the British outﬁt cut an album of jazz-sampling grooves, charting with the Hancock-inspired Cantaloop (Flip Fantasia). Meanwhile, a new wave of hip hop DJs – among them Mix Maﬆer Mike – developed ‘scratch music’, using the turntable as an inﬆ rument. Th is music assumed a more avant -garde form in illbient. Jazz hop – which paralleled acid jazz, similarly maligned as ‘corporate’ by the mid-90s – presaged The Roots as well as the nu-jazz movement.
WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW HAS IT EVOLVED SINCE THEN? “Musically we’ve always played a lot of dubwise along with classic reggae, version excursions and original dancehall. We wanted to push the whole concept of the authentic reggae soundsyﬆem where a crew presents the music on their own ‘sound’.” WHAT WAS THE FIRST GIG YOU RAN, AND HOW DID IT GO? “Once we were ready to do a gig we had to ﬁnd a suitable venue and one that would give us a go. Th is took some time until we found a basement bar in the city with no sound reﬆ rict ions, then we were able to promote our ﬁ rﬆ dance, appropriately naming it ‘Basement Session’. It went very well and we’ve been doing them regularly over the laﬆ three years now.” WHAT’S BEEN THE BEST ONE SO FAR? “They seem to get better every time. One time the Mad Professor played a random unannounced live dub show on the sound which was fun. Some of the outdoor events with Heartical HiFi playing in the open air have been quite memorable experiences.” WHAT WOULD BE YOUR ULTIMATE LINE-UP FOR AN EVENT? “Heartical HiFi Outrational under the same roof as some of our favourite sound syﬆems from the UK, like Jah Shaka, Channel One, Iration Steppas, Jah Tubbys, Conscious Sounds, Dubateers, and Aba Shanti.” WHERE & WHEN: Basement Sessions Saturday 6 November and Saturday 4 December at The Night Owl, Bass Jump NYD at Prince Of Wales.
GONE BUT NOT FORGOTTEN WHEN JOHN O’DONNELL, TOBY CRESWELL AND CRAIG MATHIESON SAT DOWN TO COMPILE THE LIST AT THE HEART OF THEIR NEW BOOK THE 100 BEST AUSTRALIAN ALBUMS, ELECTRONIC DANCE MUSIC AND HIP HOP WAS LARGELY FORGOTTEN. SOME OF 3D WORLD’S KEY WRITERS LOOK BEYOND THE OILS, CHISEL AND ACCA DACCA TO PINPOINT THE ALBUMS WHICH SHOULD HAVE MADE THE CUT.
GROUND LEVEL New Moon
MIDNIGHT JUGGERNAUTS Dyﬆopia
The Melbourne-based house duo of Jean Marie Guilfoil and David Walker burﬆ through the rave door running with a ﬆ ring of anthemic pumpers from 1990 (their minimal dark gospel throbber God Intended ﬆ ill causes a ﬂashback shudder). They not only proved that Auﬆ ralia wasn’t blindly copying the UK and US scenes (they even scored a UK hit) but showed that even though there was a woman in the act, she didn’t have to be the vocaliﬆ /decoration for live PAs. Guilfoil was a female club music pioneer. They also released Auﬆ ralia’s ﬁ rﬆ ﬆ udio house album with the accomplished New Moon set (yes, there were local ﬆ udio albums released earlier from other club genres – but this was a ﬆ raight-down-the-line house ﬁ rﬆ). Spacious, crisp product ion ﬂeshed out act ual songs and the basslines led you by the crutch. The album not only crammed singles Lucid, Out Of Body and Dreams Of Heaven into this experience but they bucked the diva-vocal trend of the time by featuring soul singer John Kenny on the quasi-spiritual deep house cut Searching For The Truth (way ahead of this sound becoming the signature of late-90s main rooms). ANDREW MAST
The New Wave era generated credible Auﬆ ralian synth-pop bands – Icehouse, Real Life, Pseudo Echo, Kids In The Kitchen – but, with the exception of Icehouse, they created classic singles, not albums. The recent New Wave revival has been more bountiful, with the ﬆaunchly independent Midnight Juggernauts the act beﬆ able to reintroduce an avant-garde sensibility to elect ro-pop. In 2007’s Dyﬆopia, the Melburnians could have presented an album of the blissed-out Shadows on repeat. They didn’t. Then called Flowers, Icehouse’s sublimely atmospheric debut ﬆ ill emulated the glacial elect ro of Gary Numan (and David Bowie in his Berlin phase). But, on the sci-ﬁ Dyﬆopia, the Juggernauts, Bowie’s illegitimate genius children, voyaged through prog rock, cosmic disco, New Romanticism, indie-dance and French touch – occasionally within the same song. The title-track imagines a space-age Balearic. Worlds Converged opens with harmonies that evoke ELO, the now cult Brit symphonic rock outﬁt. The too-brief Scorpius manifeﬆs all the drama of Ultravox’s Vienna. And these weren’t even singles. Far being being gothic, or (eek) emo, Dyﬆopia represents an agnoﬆ ic futurism, a counterpoint to techno’s idealism, from intuitive musical time travellers. CYCLONE
For moﬆ bands picking up an ARIA Award would be the catalyﬆ for a spike in album sales and much deserved ﬁnancial compensation, but for Pnau it was the beginning of close to a decade in music induﬆ ry purgatory. Uncleared samples saw Sambanova yanked from record ﬆores a week before Nick Littlemore and Peter Mayes took out the ARIA for Beﬆ Dance Release in 2000, and the band arguably didn’t recover until perfect ing indie-elect ro crossover on 2007’s self-titled eﬀort (though Again surfaced on Darren Emerson’s Underwater Records in 2003). Though Warner’s 2001 re-pressing featuring a rejigged trackliﬆ ing including some Hed Kandi-esque vocal house cuts is the moﬆ readily available (others include a rush-released version with the wrong disc colour and another with a digital pop in one of the tracks), it’s the 1999 original on Peking Duck which impressed the dance music underground and eventually ﬂ irted with the mainﬆ ream. Sambanova largely drew from the same cues as overseas funky house and ﬁ ltered disco acts, but Pnau found their own niche – Mellotron and the title track conjure images of a sun-kissed terrace in the height of summer, Hard Biscuit and Discone (the latter subsequently removed from the re-issue) take a similar sound into drugged-out early morning territory, while Need Your Lovin’ Baby and Direct Drive are as peaktime as turn of the century main room house gets. Quite where Pnau would have ended up if copyright issues didn’t throw them oﬀ the rails poﬆ-Sambanova is anyone’s guess, but with Elton John now taking them under his wi(n)g the future is sure going to be intereﬆ ing. KRIS SWALES
(Vicious Vinyl), 1995.
(Peking Duck), 1999.
THE 100 BEST AUSTRALIAN ALBUMS
1. 2. 3. 4. 5. 6. 7.
THE BAMBOOS Step It Up (Tru Thoughts), 2006.
Whilﬆ certainly not the beﬆ album by the band, The Bamboos’ 2006 debut LP Step It Up deserves inclusion in the annals of Auﬆ ralian Music hiﬆory because it was the ﬁrﬆ Auﬆ ralian deep funk album to spawn a wave of imitators and the only one to receive a nod from two overseas labels. After honing his song-writing and product ion skills on the self released Eel Oil/Blackfoot and Kaydee Records released Tighten Up 7-inch singles, lead guitariﬆ Lance Ferguson signed his band to the Brighton based Tru Thoughts label. It may be odd to think that a largely inﬆ rumental album with three covers on it deserves such praise, but it was the ﬁrﬆ time in a long time we had heard such horn ﬆabs and upfront drums in the mix of any Auﬆ ralian record since Jimmy Barnes’ Soul Deep and, well… let’s not go there. The players included Renae Geyer’s bassiﬆ Yuri Pavlenov, eﬆeemed jazz saxophoniﬆ Anton Delecca and The Cat Empire’s Ross Irwin, as well as boogie-funk producer Ben Grayson on keys and the fat-back drummer everyone wanted a slice of, Daniel Farrugia. Perhaps obese-back might be a better term because one thing that really ﬆ icks out on this album is the drumming, be it the in-the-pocket rolls of Voodoo Doll or the crashing 4/4 cacophony that is the band’s cover of Afronaught’s brokenbeat monﬆer Transcend Me featuring UK soul powerhouse Alice Russell on vocals. Step It Up was and is a roaring success due to its enjoyable, varied and liﬆenable nature as well as its appeal for dancers and DJs alike. It ﬆ ill ﬁnds itself sitting fondly in collect ions, crates and on compilations to this day. HUWSTON
8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
Midnight Oil – Diesel And Duﬆ AC/DC – Back In Black Crowded House – Woodface Cold Chisel – Circus Animals The Triﬃds – Born Sandy Devotional The Easybeats – The Beﬆ Of Paul Kelly And The Coloured Girls – Gossip You Am I – Hi Fi Way Skyhooks – Living In The 70s The Avalanches – Since I Left You INXS – Kick The GoBetweens – 16 Lovers Lane Radio Birdman – Radios Appear Daddy Cool – Daddy Who? Daddy Cool Richard Clapton – Goodbye Tiger Bee Gees – Beﬆ Of Vol 1 The Birthday Party – Junkyard Hunters And ColLectors – Human Frailty Sarah Blasko – As Day Follows Night The Saints – (I’m) Stranded The Drones – Gala Mill Split Enz – True Colours Midnight Oil – 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 Slim Duﬆ y – The Very Beﬆ Of
25. Silverchair – Neon Ballroom 26. Nick Cave And The Bad Seeds – The Boatmans Call 27. Regurgitator – Unit 28. Hoodoo Gurus – Stoneage Romeos 29. Empire Of The Sun – Walking On A Dream 30. Geoﬀ rey Gurrumul Yunupingu – Gurrumul 31. Kasey Chambers – Barricades And Brickwalls 32. Johnny O’Keefe – The Wild One 33. The Church – StarﬁsH 34. The Reels – Quasimodo’s Dream 35. The Maﬆers Apprentices – The Maﬆers Apprentices 36. Savage Garden – Savage Garden 37. Sunnyboys – Sunnyboys 38. Kev Carmody & Various Artiﬆs – Cannot Buy My Soul 39. Something For Kate – Echolalia 40. Stephen Cummings – Lovetown 41. The Saints – Prehiﬆoric Sound 42. Auﬆ ralian Crawl – The Boys Light Up 43. Powderﬁnger – Odyssey Number Five 44. Mental As Anything – Cats & Dogs 45. Eddy Current Suppression Ring – Rush To Relax 46. Models – The Pleasure Of Your Company 47. Augie March – Moo, You Bloody Choir
48. The Missing Links – The Missing Links 49. Ed Kuepper – Honey Steels Gold 50. Ac/Dc – Highway To Hell 51. The Sports – Don’t Th row Stones 52. The Seekers – The Beﬆ Of 53. Cold Chisel – Eaﬆ 54. Underground Lovers – Leaves Me Behind 55. You Am I – Hourly, Daily 56. INXS – The Swing 57. The Living End – The Living End 58. Jimmy Barnes – For The Working Class Man 59. Russell Morris – Wings Of An Eagle 60. Hoodoo Gurus – Mars Needs Guitars! 61. The Presets – Apocalypso 62. The Dingoes – The Dingoes 63. The Cruel Sea – The Honeymoon Is Over 64. The Angels – Face To Face 65. The HummingbirDs – Lovebuzz 66. Paul Kelly – Foggy Highway 67. Chain – Toward The Blues 68. Dragon – O Zambezi 69. Billy Thorpe And The Aztecs – Live! At Sunbury 70. Scientiﬆs – Blood Red River 71. Crowded House – Temple Of Low Men 72. Died Pretty – Doughboy Hollow 73. Axiom – Fool’s Gold
74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87.
88. 89. 90.
91. 92. 93. 94. 95. 96. 97. 98. 99. 100.
Bob Evans – Suburban Songbook Dirty Th ree – Ocean Songs Renee Geyer – Ready To Deal The Church – The Blurred Crusade The Vines – Highly Evolved John Farnham – Whispering Jack The Loved Ones – Magic Box The Sleepy Jackson – Lovers Bliss N Eso – Flying Colours Nick Cave And The Bad Seeds – Tender Prey Tex, Don & Charlie – Sad But True Flowers – Icehouse Missy Higgins – The Sound Of White The GoBetweens – Before Hollywood Normie Rowe – Normie’s Hit Happenings Jet – Get Born The Captain Matchbox Whoopee Band – Smoke Dreams Ben Lee – Awake Is The New Sleep Rose Tattoo – Rose Tattoo I’m Talking – Bear Witness X– X-Aspirations Beaches – Beaches Baby Animals – Baby Animals Bernard Fanning – Tea & Sympathy Kylie Minogue – Fever Men At Work – Business As Usual Various Artiﬆs – Morning Of The Earth Soundtrack
AUSTRALIAN STENCIL ART PRIZE
DO YOU BELIEVE IN MAGIC?
ARTIST NAME: Paul Shanta/Shanta ARTWORK TITE: Laﬆ Drag, Laﬆ Life FROM: St Peters, NSW DESCRIPTION OF WORK: “A man smoking having his laﬆ drag An eight layer ﬆencil on mounted canvas thick edge board. Ironlak and Montana with White Knight black paint. Shanta has been delving into the world of Stencil Art for three years now within NZ, now living in Auﬆ ralia. His work has been described as a mix match of organic shapes and forms with urban ﬆ yle and high detail.”
The process of becoming a saint of the Catholic Church is a lot more bureaucratic than you’d think. It involves a canonisation, which means that ﬁrﬆ ly two miracles have to be ‘attributed’ to the deceased person, which means that two people had to have prayed to them, which they believe resulted in them being healed of some otherwise incurable disease. Then, they have to be dug up from wherever they’re buried and relocated, in case people try to salvage themselves a piece of the disease-healing corpse. Then ﬁnally, they are declared a saint under the ‘Universal Magiﬆerium of the Church’. Nineteenth Century Auﬆ ralian Catholic nun Mary MacKillop was recently recognised as a saint by the Catholic Church. Mackillop is Auﬆ ralia’s ﬁ rﬆ oﬃcial saint, and this made headlines for a leaﬆ a week, with Mary becoming our new celebrity, trumping Princess Mary and Mary Kay Cosmetics as Auﬆ ralia’s moﬆ popular Mary. With all this excitement about Mary
MEET THE CREWS
CREW MEMBERS? “Lickweed, Mr Nice, Zanda and Gueﬆs.”
ARTIST NAME: Mel Foﬆer ARTWORK TITLE: Pinned All Round FROM: Sydney, NSW DESCRIPTION OF WORK: “Pinned All Round is part of a series of ﬆencil works examining alternative sub cultures and identity in inner weﬆern Sydney. Th is alluring portrait was shot in a former induﬆ rial site and then reconﬆ ructed by cutting, layering and rebuilding the image with screen printed ﬆencils. The body forms the central theme within the image and propagates her intereﬆ in beauty and the banal. Th rough her photographic technique of ﬆencilling, Foﬆer capitalises on the eﬀects of translucent layering, imperfect ions in regiﬆ ration and vintage colouring to convey a unique view of beauty that lies between the old and new and the glamour and gutter of urban environments.” Auﬆ ralian Stencil Art Prize exhibition launches at Oh Really Gallery (Sydney) 6pm on Thursday 11 November.
WHY DID YOU GUYS START PROMOTING PARTIES? “We were sick of being Bedroom DJs and wanted to spread our music collect ion to the people of Melbourne.” WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW HAS IT EVOLVED SINCE THEN? “We ﬆarted oﬀ with pretty much party orientated tunes and went on to generally funky sets ranging from hip hop and funk, rock and elect ro to breaks and drum’n’bass. The Mr Nice audio-visual set has really evolved since the beginning, making use of Loop’s massive screens and keeping the crowd amazed each time. It’s a real spectacle that has ingrained itself as part of the Pickled Beats party. The Pickled audience has worked out the syﬆem we have developed and if Breaks and d’n’b is solely their thing they may even rock up at 3am because they know that’s what they’re going to get from Lickweed at that time.”
MacKillop’s miracles, something came to my attention that wasn’t widely discussed in the papers. Although the entire media were happy to completely embrace the fact that Mary MacKillop is a saint who has the ability to magically heal incurable diseases, there was a diﬆ inct lack of attention given to the fact that magic doesn’t act ually exiﬆ. You might say that I could try and open my mind to the possibility that miracles can happen. Sure, the Catholic Church might be able to open their minds to believe in miracles, but they ﬆ ill won’t open their minds to believe in dinosaurs and condoms. So I’m not so sure we should be celebrating their ability to open their minds to the possibility that a dead nun can heal a person of leukemia juﬆ yet. The canonisation of Mary Mackillop seemed to be some sort of national public declaration of completely accepting the Catholic Church’s view of the world, while in Queensland in the same month, the proposed building of a mosque in Worongary attracted 200 object ions, two proteﬆs and a spray of bigoted graﬃti. If Mary is really a saint, she’ll ﬆop healing people of disease and ﬆart ﬆ riking down a few more people with it. It’s the only way to be sure she knows what she’s doing. HOLLY HUTCHINSON
WHAT’S BEEN THE BEST ONE SO FAR? AND ANY DISASTERS ALONG THE WAY? “Probably the ﬁrﬆ time we had DJ Ego and DJ Moneyshot on as gueﬆs, also when we had the Subbass crew joined us one month. Our ﬁrﬆ summer at Loop wasn’t a disaﬆer but it was certainly quiet. It took us some time to build up the night and get a following. Now it’s huge – one of Loop’s biggeﬆ nights. The energy of the crowd is contagious and you can see people coming back each month on the ﬁrﬆ Saturday for a big night of partying.” WHERE & WHEN: Pickled Beats at Loop Saturday 6 November, Xmas Extravaganza at Loop Saturday 4 December
WHAT WAS THE FIRST GIG YOU RAN, AND HOW DID IT GO? “Xmas eve at Loop in 2007, went really badly, probably had about 20 people at the club at moﬆ.”
3 DEGREES OF SEPARATION THE FIRST DEGREE
CEE LO GREEN FUCK YOU! (Universal Motown), 2010 Not since Shriekback’s Lines From The Library back in the 1980s has cursing been made sound so sweet and funky as the Atlanta soulﬆer does here. But even after you get paﬆ the novelty value of singing along loudly with the “fuck you” refrain of this loveloﬆ anthem, you realise there is a great pop song at its heart. But radio will only play it as “f*** you” or “forget you”. Naughty, naughty, Cee Lo, why couldn’t he make another nana-friendly summer hit like his Gnarls Barkley eﬀort, Crazy.
THE SECOND DEGREE BLACK GRAPE KELLY’S HEROES (Radioact ive), 1995
Speaking of naughty. Black Grape were even looser than the band they spun oﬀ from, Happy Mondays. Founder Shaun Ryder caused a furore dropping the “f ” word on TV twice – and he was also banned from the US but that was due to the “e” word. Th is poﬆ-hop groove included the bizarre lyric, “Jesus was a black man, no Jesus was Batman/No… that was Bruce Wayne”. Long after this Ryder found himself back on radio by gueﬆ ing on Gorillaz’ hit Dare – which was produced by Cee Lo’s Gnarls partner Dangermouse.
THE THIRD DEGREE
BOW WOW WOW C’30, C’60, C’90, GO (EMI), 1980 With Malcolm McLaren pulling the ﬆ rings of this frenetic, Burundi-drum fuelled pop punk outﬁt, Bow Wow Wow’s short but bright career was always courting controversy. Mac swiped the band from under Adam Ant’s nose and the mother of the young female singer he put up front, Annabella Lwin, accused Mac of “exploitation of a minor for immoral purposes”. Th is song was initially released on cassette only, as it celebrated the death of vinyl(!) and rallied againﬆ the sad ﬆate of radio. In the 1990s, the band’s guitariﬆ Matthew Ashman went on to play with Wall Of Sound act Agent Provocateur with Danny Saber who was a part-time member of the Black Grape’s collect ive.
TUBETIME The incredible world of television with 5SPROCKET
Keeping Up With The Joneses (Channel 10) is a poorly conceived reality programme that follows the day to day life of an outback family. The ‘Joneses’ are a cattle family, a white Auﬆ raliana wet-dream gone rabid. Featured shots of helicopters ﬂying low, doing spins, and making everything duﬆ y. A soundtrack loaded with obligatory slide guitar and the occasional banjo hoe-down. The cattle wear lipﬆ ick and are sexually open-minded. In tonight’s episode the Joneses need to put the cows on a truck. The patriarch Milton, a man unsuited to high deﬁnition, tends to work hard by putting his thumb under his belt and yanking his pants into his crotch. His son, Little Milton, is a hyperact ive fouryear-old demon child that communicates in an atonal groan, somewhere between an injured chimp and a troll. When he grows up he wants to be juﬆ like his pa, surely a dream we can all aspire to. A secondary plot thread introduces the local police, who are in town to inspect the “road train”. The show is full of the working class vernacular I like to snark at as I sip my Manhattan. “Ay,” inﬆead of “Hey how are you going?”, “Specko,” inﬆead of “Shall we inspect your shit caked vehicles?”. It’s a hard day’s work out there on the farm, lathering yourself in animal sweat and Akubra wear. For lunch they go to the local billabong and catch, scale and cook a ﬁsh. Then it’s back on the low ﬂying chopper to make our sunburnt country an internationally saleable and absolutely reduct ive caricature of ‘our nation’. As if to make amends for the crimes of the universe, Beauty And The Geek Auﬆ ralia (Channel 7) has returned. In this week’s challenging episode, a social cliché is paired with a social cliché of another gender and required to do teﬆs that correspond to their social cliché. Do opposites attract? Sure sounds like a wacky scenario! How about a toothless nerd with a speech impediment making martinis! A pair of tits with a head has to build a safety harness for a children’s swing! A nervy poﬆal worker with a beard has to go to court to receive an AVO on another conteﬆant! Full of zany comedy music (wicka wow), this isn’t your ﬆandard local remake of a mediocre American reality TV show. It reminds us that hot chicks and nerds are ﬆ ill willing to be the punch line of every joke, as long as they can be ridiculed on national television.
Since we haven’t seen the emergence of a new act ion hero in a while, the old guard have apparently decided to ﬁ ll the gap. Hot on the heels of The Expendables comes RED (which ﬆands for ‘Retired, Extremely Dangerous’), which features a caﬆ so fabulous that the premiere surely rivaled the Oscars for ﬆar power. Robert Schwentke is back in the director’s chair, trying to make amends for his dismal previous eﬀort, The Time Traveler’s Wife, and, thankfully, succeeds to a degree. RED follows Frank Moses (Bruce Willis), a retired CIA agent whose life, once revolving around Black Ops assignments, now consiﬆs of placid domeﬆ icity and a crush on a call centre worker, Sarah (the fabulous Mary-Louise Parker), with whom he’s only ever spoken on the phone. With the discovery that the CIA are out to get him, Moses skips town, kidnapping Sarah, who he believes will be a target thanks to his aﬀect ion for her. What follows is a parade of supporting roles and cameos, each more awesome than the laﬆ. Moses contacts a number of retired agents from across the globe – enter Morgan Freeman, John Malkovich, Brian Cox, and the incredible Helen Mirren. Even the two-line cameos are ﬁ lled by
some of television’s ﬁneﬆ, from Gilmore Girls’ Emily Kuroda to Dexter’s James Remar. Mix in some great act ion sequences, an ageinappropriate love ﬆory and a solid performance from Kiwi Karl Urban as the young-gun CIA agent, and surely this is the beﬆ ﬁ lm ever, right? Well, it should be, but RED juﬆ isn’t. Too much of what could be intereﬆ ing about this ﬁ lm is unexplored. How does a trained killer retire? Are they owed a youthful life after their work is done? Schwentke hints at these queﬆ ions but then ignores them in favour of giving Helen Mirren more time in an evening gown, ﬁ ring a machine gun. It’s a good popcorn movie, but RED ultimately sells its incredible caﬆ a bit short. WHERE & WHEN:
Screening in cinemas ALEKSIA BARRON
GAMEON With DAVE DRI
(MICROSOFT XBOX 360) Fable III hits the shelves at a peak of expectation, continuing the open-ended adventures in the rich and immersive world of Albion. While it has only been two years since Fable II was released to Game Of The Year accolades in the real world, it has been a tense 50 years in game time. The former Hero’s rule has passed on to another generation amid the birth of induﬆ rialisation. As the factories rise, and the nation’s mood deepens into whispers of revolution againﬆ your brother the King, your queﬆ begins. Will you ﬁght for freedom and peace, or crush all resiﬆance once and for all? As with all of the Fable releases, Lionhead Studios have crammed every inch of the game with grin-inducing humour, ﬆarting with perhaps the moﬆ hilarious and bizarre introduct ion sequence ever created. The ﬆ reamlined RPG gameplay aeﬆ hetic of the prior titles has been further reﬁned, with a complete avoidance of inventory management typically at the core of all games of the genre. The overall experience is loose and faﬆ, which can feel unsettling for fans of extreme RPG titles such as Oblivion or World Of Warcraft. Much like prior titles, there is no crate smashing, no backpacks or inventory slots, and nothing to plunder from dispatched foes. Lionhead have perhaps gone a little too far in the queﬆ for simpliﬁcation, taking out the rewarding “experience orbs” interact ion of Fable II , and further turning the ﬁghting experiences into a slightly mindless arcade button mash. While not to all taﬆes, this reboot of the RPG formula extends to the menu syﬆem, which is incorporated into the game itself by way of a Sanct uary. Essentially a series of rooms that the player teleports to when the menu button is pressed, the Sanct uary contains a truﬆ y butler,
voiced by John Cleese, who delivers an amusing supply of one-liners and the odd suggeﬆ ion to purchase in-game content from the conveniently placed service counter. Converting the traditional game menus into a virtual room is an intereﬆ ing move that improves on Fable II’s redundant and repetitive menu mashing that hampered the consumption of multiple potions or foodﬆ uﬀs. The trade-oﬀ is a slightly more annoying method for queﬆ management, bound as it is to the interact ive world map in the centre of the room. The fruﬆ rations don’t ﬆop there alas, with a range of peculiar visual issues plaguing the game. The same soft Fable palette returns, with HDR simulation and light blooming eﬀects galore, but this ambitious rendering suﬀers regularly from frame-rate ﬆ uttering and slow load times. Other small issues detract from the experience and snap the player back to reality, including the unnecessary recycling of voice act ing from the previous game. Th is is cute for the recognisable turns of phrase, such as the “dancing loon” jokes, but in game terms this is supposed to be 50 years on, in a vaﬆ ly induﬆ rialised version of Albion. Chances are that the game characters voicing the original quips are (gasp!) dead. The jury is ﬆ ill out on other attempts at innovation, including the redevelopment of the money earning in-game, trading the pendulum-ﬆ yle challenges with timed button sequences in the ﬆ yle of Guitar Hero. There is also a curious reboot of the ﬆats progression method, which now takes places by spending experience points on The Road To Rule, a partitioned dreamscape that opens up as waypoint challenges are completed. Some of the moﬆ important and more popular features remain largely intact – which is to say that you are ﬆ ill free to marry, create happy or miserable little families and engage in whatever extra-marital sexual encounters you so desire. Although Albion may be entrenched in the throes of the induﬆ rial era, it has reached an enlightened view on same-sex relationships. As ever, the consequences of your act ions may result in unintended children, or other situations diﬃcult to explain away. The same decision making impacts upon the larger game play in a way yet delivered by Lionhead’s initial promises of “changing the world one act at a time”. Every act ion has a consequence, and these are explored further than the various set-points in the plot of Fable II, and the usual “halo or horns” visual cues that have run through the series to date. Fable III is for the moﬆ part an enlightened and exciting extension of one of the more notable RPG series to come to the XBOX. The game play is more tweaked for a ﬂowing experience than ever, and thus appeals to an even wider audience. Juﬆ as importantly, there is a new level reached in sarcasm and general Dadaiﬆ absurdity. Come for the free ﬂowing game play, ﬆay for the chicken races.
THE STORY SO FAR
FABLE (2004) The original Fable on the original XBOX proved a surprise to gamers weighed down in increasingly complex RPGs. The colourful and quirky world of Albion proved an inﬆant hit, plagued as it was with all manner of bandits and bad jokes. The ﬆoryline follows a typical combination of “child of the ﬆ reet discovers great powers” and “you killed my family, vengeance will be mine”, before veering oﬀ with a multitude of ﬆory arcs triggered by the Good or Evil choices made during the game. The concept of “free will” became a ﬁ xture for the series, including the Loﬆ Chapters expansion pack.
FABLE II (2008) After the ﬁnal defeat of Jack Of Blades in the original, Albion becomes a peaceful place. The cities grow and society advances into a wonderfully sarcaﬆ ic pre-induﬆ rialisation era. You are again an orphan, though this time a random child of the ﬆ reet rather than the product of dirty deeds. You are also the unknowing descendent of the Hero line, and you muﬆ ﬆop the mad king Lucien from taking over the world. Th is is as much a remake as a sequel, with more humour, more detail, and many, many more chickens.
WHERE’S THE MONEY? Micropayment options continue to expand, oﬀering more ways to get bread on the table for artiﬆs and musicians. THE PAYPAL GORILLA Micropayments are payment syﬆems that allow for people to easily transfer very small amounts of money without a disproportionate transaction fee attached, and these have been championed as a solution for generating income for online publishers. Click a button if you like an article/song/video, and ﬁve cents is eﬀortlessly donated. Spread this model over a large enough audience and it’d ﬆart to mean many could concentrate on making higher quality work for a living. There’ve been two problems with this so far though – proportionally large transaction fees, and what others have termed a “mental accounting barrier”. The argument there was that “each price, no matter how small, carries a burden of deciding if the content is worth that price; accumulated over a large amount of content, this burden would pose an extreme inconvenience to the users”. Micropayment syﬆems have come and gone (bitpass.com RIP), but the move by the ubiquitous Paypal could change the ballpark. Inﬆead of a typical fee, where a $1 transaction would incur a fee of 33 cents, Paypal now oﬀers new pricing of ﬁve percent plus ﬁve cents for purchases under $12 (a $1 transact ion would now only coﬆ 10 cents). The new pricing will launch later this year, but will be integrated into Facebook soon. Apparently part of the motivation was for direct in-app transactions for virtual goods within social gaming environments, where they currently process billions of dollars a year. These payments will also be available by SMS. Already Amazon oﬀer a Flexible Payments service, and Google oﬀer a checkout service, both with apparently similar pricing options, but it’s the popularity of Paypal which means that this will likely have some repercussions for independent producers. Another factor that maybe means the time is now ripe for micropayments is the huge popularity of the app ﬆore model, which sells software at smaller prices to much larger audiences, but also gets audiences used to paying small amounts for services. FLATTR An intereﬆ ing sidenote to the above, Flattr seeks to solve the micropayment problem by using monthly fees. Choose the amount you want to pay per month, donate to whoever you like – and at the end of the month, your fee is divided between all the things you’ve ﬂattered. Ten percent of incoming revenue is taken as a Flattr fee. @JEAN_POOLE
INTHESTUDIO INTHE STUDIOWITH...
WORLD’S END PRESS
HOW DID WORLD’S END PRESS COME TOGETHER? Rhys Richards (Synths/Elect ronics): “John and I have been making music together since high school. The current 4 member line-up of WEP has been going for about a year. We’ve always had a love of many ﬆ yles of music (I hate it when people say that) and each member has their own diﬀerent musical obsessions. WEP used to play a more psychedelic and proggy version of pop. The laﬆ year has seen us adapt our sound more into the realm of dance music. Given an immense and long-ﬆanding love of disco, as well as house and techno music, it’s been an incredible challenge to adapt ideas of club music into pop. We’ve ﬆ ill got a long way to go.” HAVE YOU BEEN MINDFUL OF REALLY PERFECTING YOUR SOUND VIA YOUR EP RELEASES BEFORE COMMITTING TO A FULL-LENGTH RELEASE? Rhys: “That’s exact ly it. As mentioned, we’re ﬆ ill discovering our sound, and we want the record to be something we’re happy with, and ultimately something we’d want to liﬆen to. Putting out singles and EPs was never part of some maﬆer plan, but has juﬆ happened whilﬆ we’ve worked towards an album. Th is year has seen us become increasingly more conﬁdent in the ﬆ udio, so this process has been invaluable.” IS FAITHFUL A GOOD REFLECTION OF WHERE YOUR SOUND IS CURRENTLY SITTING? Sashi Dharann (Bass): “It’s more like a progression between two worlds. Tracks such as Long Live mark a progression towards a more rave/dance sound, where as Only The Brave represents our more organic approach as a band. We’re conﬆantly trying to ﬁnd a happy medium between these two aspects.” HAS IT BEEN DIFFICULT TO TRANSLATE YOUR LIVE ENERGY INTO YOUR RECORDINGS? Sashi: “For sure. If we could bring all our sweaty, dancing fans into the ﬆ udio we would, but obviously that ain’t gonna happen... they’d block the ﬁ re exit. We had to realise from early on that we were dealing with an entirely diﬀerent aspect of the music. We’ve enjoyed the ﬆ udio vibe though. You can experiment a lot more, but it also lets you hone your craft. Live, we rarely get a chance to perfect things, and there’s such a wall of noise it’s hardly discernible, but in the ﬆ udio we can be meticulous and give every sound it’s full attention HOW IMPORTANT HAS YOUR PRODUCER QUA BEEN IN HARNESSING THE WORLD’S END PRESS SOUND? Sashi: “We came into the album process as novices, and Qua agreed to
work on it with us. In his ﬆ udio we had the freedom to use some great gear and really get the sound we had in our heads when we’d reach the limits of our technical knowhow. It also helped to have another outside voice to ground us at times, and at the same time to embellish our grandiose ideas. I ﬆ ill recall liﬆening to Phil Collins’ No Jacket Required with him in my lounge room, turning to him and saying ‘can you do this to us?’ – ridiculous!” WHEN CAN WE EXPECT YOUR MUSIC FOR THE WORLD ALBUM TO DROP? Sashi: “Patience... patience. The record will come out soon. We’re hoping early next year, as we’ve got a few touch-ups to make, and some new ﬆ uﬀ to add. We’re gonna be road teﬆ ing some of it over summer when we hit the feﬆ ivals. If it tanks you won’t hear it on the album...” WHO: World’s End Press WHAT: Faithful
EP (Love + Mercy/ Shock)
WHERE & WHEN:
Northcote Social Club (Melbourne) Friday 5 November, Shark Bar (Gold Coaﬆ) Thursday 11 November, X & Y Bar (Brisbane) Saturday 13 November, GoodGod Small Club (Sydney) Thursday 18 November, Coogee Diggers (Sydney) Friday 19 November, The Nash (Geelong) Saturday 27 November
PLEASE DRINK RESPONSIBLY. The Smirnoff word and associated logos are trademarks. ÂŠ The Smirnoff Co. 2010.
RADING HER ‘TRASH BAG ON THE WAY TO REHAB’ LOOK FOR POLISHED AND POISED 1950S GLAMOUR, ECCENTRIC SINGER AMY WINEHOUSE HAS REALLY SURPRISED US WITH HER FIRST VENTURE INTO FASHION. A collaboration with British designer Fred Perry has proved to be far better than expected, with Winehouse looking unusually healthy and radiant. She models various looks from the 17-piece collection, which includes both clothing and accessories. Preppy Polo shirts, a jumper dress, pencil skirts and bowling shirtdress feature in the 1950s Grease-inspired range. With Mad Men mania dominating this season, Amy’s 50s look is pretty much on trend, but for some reason we can’t really see the wild singer baking roast meals and attending polo matches any time soon. If any of these items tickle your fancy, head to www.fredperry.com for online purchase.
Sportsgirl Pipa bind dress ~ $99.95. www.sportsgirl.com.au
Lyle & Scott check short sleeve shirt ~ $125. www.lyleandscott.com
Tight Tigers’ Livia’s Tiger ~ $240. www.tighttigers.com
Keds Champion Solid womens’ sneakers ~ $49.95. www.keds.com
Dragon Alliance Wormser Tang sunglasses ~ $129.95. www.dragonalliance.com
Designs By Natalia orange resin bangles ~ $130 for set. www.designsbynatlia.com.au 60 0
Etnies Brigade sneakers ~ $74.96. www.etnies.com
WORLD WOR W RL LD D
Blow Your Load Okay, so this will set you back more than you’ve budgeted b for your entire family’s Xmas shopping - but hey, it’s summer soon and loud music is the season’s soundtrack. This Brionvega - RR226 radio-phonograph is something special and was initially manufactured in 1965. Designed by brothers Achille and Pier Giacomo Castiglioni, it was considered a transformational design in hi-fi equipment. Orig Originally working in architecture, the brothers’ product design work is now no exhibited in NY’s MoMA. No wonder it still looks good. The reissued m model is “loyal to the original in its details” but has been tweaked for 21st 2 century usage. But you just might need to renovate your entire apa apartment around it… if you haven’t already maxxed the cards purchasing pu it. ~ $AU8,529. www.singulier.com
SHE’S SO FLY
Ghost & Lola’s Beauty Queen necklace www.ghostlola.com.au
Katzi’s Doctor bag ~ $294. www.thegrandsocial.com.au
Urban, confident, creative and free-spirited - Damselfly jewellery by Melbourne designer Christianna Heideman continues to produce inspiring and innovative new collections. From Whimsical and girly to tough and edgy, Damsefly’s range has something for each of your multiple personalities. I Hate Myself For Loving You - the latest collection, features leather, chains, feathers and antique silver-plated metals. Prepare to be dazzled. View the collection at www.damselfly.com.au.
FINDERS KEEPERS The Finders Keepers Market is a bi-annual event that showcases the work of emerging designers and artists from all around Australia and New Zealand. Aimed at promoting upcoming independent designers and artist from various creative fields, Finders Keepers Markets feature jewellery designs, fashion, toys, homewares as well as live independent music. Best of all, entry is free. Next market will be at The Old Museum (Brisbane) Saturday 6 - Sunday 7 November, then Carriage Works (Sydney) Friday 3rd - Saturday 4th December. See www.thefinderskeepers.com for details.
LACHAPELLE Famed fashion photographer David Lachapelle was in Australia last week to promote Nokia’s launch of the N8. Lachapelle who has snapped the likes of Lady Gaga, Britney Spears and Kylie Minogue, spent time in Sydney and Melbourne taking snaps of city dwellers. Images can now be viewed at www.facebook.com/nokiaaustralia.
Former ‘Scary’ Spice Girl turned reality TV star Mel B looking incredibly elegant (minus the trademark fro) at Flemington Racecourse for Derby Day in Melbourne. Nice to see cargo pants, crop tops and platforms are long gone. email@example.com d info to lure@3dwo Wanna get laid? Send products and
Emo singer/actress Taylor Momsen flashing her chest to audiences while performing with her band The Pretty Reckless in New York last week. Wrong for so many reasons but mainly because she is only 17. Less is never more.
PSYCHEDELIC VISIONARIES BENOIT MANDELBROT
Significant contributions to mathematics and Fractal Geometry, as well as single-handedly spawning the fractal visualisations favoured by hippies and space cadets at doofs and outdoor parties worldwide.
Extended understanding of fractals and Chaos Theory by an exceptional measure, and provided inspiration and the mathematics to generate mind-boggling eye-candy for countless acid trips.
Unintentionally set a very low bar for psy-trance and Doof VJs to rely on endless fractal visuals for the rest of time.
“Being a language, mathematics may be used not only to inform but also, among other things, to seduce.”
Published in 1982, The Fractal Geometry Of Nature brought complex mathematics to a greater audience through groundbreaking visualisation techniques.
KNOWN FOR? Being a tripper.
Conducted pioneering work on the spiritual, medical and therapeutic potential of psychedelic drugs – generally by eating them in vast quantities.
Regarded as an antagonistic media whore by psychedelic community peers including author Hunter S Thompson and LSD cook Owsley Stanley.
“Turn on, tune in, drop out.”
Flashbacks – an incredible autobiography with a great foreword written by postmodernist and Naked Lunch author William S Burroughs.
FROM? USA/outer space.
Primarily known as the widow of former Beatle John Lennon, Ono was an acclaimed artist and activist prior to falling under the shadow of her famous counterpart.
Ono has a surprisingly broad and vivid career in creating challenging modern art installations and works, pushing the boundaries of the psychedelic art movement to new extremes, and new absurdities.
Have you heard her sing?
“Artists are going to be the metronome of this society.”
Give Peace A Chance was the fi rst credited release by the Plastic Ono Band, and quickly became the soundtrack to the peace movement. While technically a Lennon composition, the song was a product of the couple’s band and their infamous Bed-In peace rally.
FROM? USA. 62 3DWORLD
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PA and lighting hire for your party, band nights (full mixer with operator), discos, fetes, and any other events! We do events all over Sydney, not just the Hawkesbury! 600W-3000W Systems. Email at email@example.com iFlogID: 7389
PA SYSTEMS, LIGHTS , STAGES We have the gear and have the people. From small to BIG - give me a call for a quote - PA SYSTEMS from $110 - CALL MATT on 0424 399 801 iFlogID: 5236
PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. You can play your own music through it, sing, talk, do a disco, small function, etc, etc, etc. Contact Chris 0419 272 196. iFlogID: 3721
MANAGEMENT Manager wanted for Hip Hop RnB Artist. Contact Jhal on 0421 557 587 or email firstname.lastname@example.org iFlogID: 7089 MINSTREL MANAGEMENT Connecting acts with Australia’s leading industry professionals. Recording Mastering Photoshoot Timed release stratergies Direct to fan marketing Solicitation to industry & media licensing & sync film clips social networking practices launch shows with promo 4 industry packages avaiable. iFlogID: 7192
MASTERING BENCHMARK MASTERING Professional Mastering from $110 per track in Australia’s most prolific mastering suites. We have the dedication and experience to make your music come alive using the world’s best equipment. Located in the heart of Sydney’s CBD. Conditions apply email:info@ benchmarkmastering.com Ph:(02) 9211 3017 www.benchmarkmastering.com iFlogID: 6217
DOMC MASTERING - $95 PER TRACK Domc Mastering is a dedicated mastering suite located just outside of Brisbane. We specialise in getting your next audio project ready for the public. DOMC work with you to get you the ‘sound’ that you are chasing. iFlogID: 5710 I’m looking for someone passionate about dance music to assist with the mixing and mastering stages of music production. Please email email@example.com for details or 0439 457 791. Ta, Jeff. iFlogID: 7190
firstname.lastname@example.org for a quote. iFlogID: 6533
POSTERS ILLUSTRATOR AVAILABLE NOW!
DETAX GOT ME A GREAT REFUND! Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email Detax@optusnet.com.au iFlogID: 8597
OTHER MARKETING AND PROMOTION A rockin’ salute from the Team at Clk Click Publicity! Clk Click Publicity is a music and entertainment publicity company that specialises in providing excellent quality management, marketing and PR services in order to promote music, film, arts and events in Australia. We have an introductory offer that will blow your mind, and keep your pockets full! For a limited time Clk Click Publicity can whip you up a professional Bio and Press Release for only $100. We can also organise band photos and logo creation for a very reasonable price. If you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. For further information please shoot us an email at email@example.com or visit our website at www.clkclickpublicity.com We look forward to working with you! iFlogID: 5312
PA / AUDIO / ENGINEERING HEARTICAL SOUND SYSTEM HIRE From small PA to large high powered rigs. Crystal clear custom built mids and tops cabs with heavy duty bass bins. Suitable for indoor and outdoor events. delivered, set up and operated. Call Derek for quotes on 0423979396 iFlogID: 5135
PA SYSTEM 3200W FOH FROM $300 Band PA system for hire. 3200w FOH, 2 x 2x15 cabs with subs, 1350w FB, 4 wedges on 2 sends, 16 input desk, FX, mikes/ stands,DIs, icolor lighting. Experienced operator, many satisfied clients. From $300 p/night. Best value for money. Chris 0432 513 479 iFlogID: 5402
PHOTOGRAPHY SETLIST PHOTOGRAPHY Sydney’s Live Music Photography specialist with over 5 years experience in the industry. Artists include Moby, Groove Armada and festivals such as Soundwave, Good Vibrations plus many more. Cheap and affordable for local artists. Go to setlistphotography.com or email
Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. www.paulikin.com -Phone: 0403 996 129 or email firstname.lastname@example.org iFlogID: 4701
REHEARSAL ROOMS PRIVATE REHEARSAL STUDIO AVAIL Your own private rehearsal room inside CBD recording facility. Hours of access: 7pm - 12pm Mon - Fri 7pm - 3am Weekends - Equipment can be left set up in the room, giving you free storage and time saved on setups. - wall length mirrors - Great for bands leading up to recordings or major tours. - Can be shared between 2 bands quite comfortably. - Security building - Shared bathroom & tea room facilities - walking distance from Central Station (approx 100m) - City views, great vibe - Great recorded rehearsal & demo rates for rehearsal bands at the brain. $450/week min 4 weeks or $400/ week 3 month commitment (works out @ less than $65/rehearsal and includes storage) This space would also comfortably fit 4 workstations with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367
TUITION APPLE CERTIFIED LOGIC TRAINER Logic studio training now enrolling. Are you a DJ,musician,songwriter or composer.Fully customised courses for your individual needs,now available. 1,Logic for DJ’s 2,Logic for Beginners 3,Intermediate Logic Techniques 4,Advanced Logic Techniques.I am a Logic Pro User and Apple Certified Logic Pro 9 Trainer with over 17 years experience.Courses are enrolling NOW.Song Surgery “making music technology,simple”. One on One tuition is also provided. Reasonable Rates Call 8212 4522 iFlogID: 7467
NY TRAINED SONGWRITING TUITION PROFFESSIONAL ROYALTIES EARNING POP ROCK SONGWRITER AVAILABLE FOR TUITION AND GUIDANCE. TRAINED WITH LEADING NYC VOCAL TEACHER WHO HAS WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. COMMERCIAL RADIO PLAY FOR ORIGINALS. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME OR BEGINNING FROM AFRESH. K.I.S.S. = $$$$$. 0435 426 012 iFlogID: 4454
PRODUCTION/MIXING TUITIONS I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I will show the tricks that they do not teach you at school, I work from my home setup (Surry Hills) only, $65 per hour.
http://www.steevebody.com iFlogID: 4776
SINGING TEACHER NYC TRAINED
1100 FULL COLOUR POSTERS = $80
CONTEMPORARY AND MUSIC THEATRE SINGING TUITION. TRAINED WITH LEADING NYC VOCAL TEACHER WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. WORLD RENOWNED VOCAL EXCERSISES TO VASTLY IMPROVE VOCAL TECHIQUE BASED ON EXCSERCISES FROM MANHATTAN SCHOOL OF MUSIC. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME. AUDITION COACHING. 0435 426 012 iFlogID: 4452
VIDEO / PRODUCTION MUSIC VIDEOS Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on facebook. com/dynamic.screen.content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681
MUSICIANS WANTED DJ Calling all DJ’s, new venue North Shore LEVEL 1 above the Chatswood Club requires resident DJ’s for a variety of nights. Give Peter K a call on 9419 5481 for expressions of interest. iFlogID: 7054 DJ Wanted to play live with RNB Hip Hop Band with Management & Agency Backing please email full contact details and also a bit of details about yourself to info@ starpowerstudios.com iFlogID: 7134
KEYBOARD COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to email@example.com iFlogID: 5905
Visit our website for an extensive price list and other services! iFlogID: 4554 check out our Blog:haemeandrobecca.blogspot.com for awesom e vintage fashion,stuff you can buy, music,film and art! iFlogID: 7032
COMEDY FOR LUNCH IN THE CBD Comedy For Lunch dates starting Sept 17th. Here’s your chance to spice up the regular CBD friday lunch with some tasty food and yummy laughs. Lunch starts at 12noon-12:35, show starts 12:35-1:10pm. We’ve lined up some very funny comic chefs to tantalise your tickle taste-buds. Plus if someone from the office is a jokester, he or she can have 3 minutes on stage to keep up the tradition :-).So gather up the gang from the office, family, friends and out of town guest and book into Comedy For Lunch. Lunch price includes choice of 6 mains, a Drink (Beer, Wine, House spirits, Juice, soft drink) and V.I.P seating in the worlds most comfortable comedy theatre, “The Star Bar Theatre” 600 George Street (formerley Planet Hollywood) or if the only serving you want is laughs, regular admission is just $10.00 for the show only! Booking now at 0295472578 or on line at www. comedyintheraw.com.au iFlogID: 6440
COMEDY FOR LUNCH STARTS SOON! The People who bring you Comedy Court stand up competitions featuring audience Digital voting (Fri nites) and Quick...Some Comedy Quick stand up shows (Sat nites) present the CBD’s only live Stand up comedy lunch show. One price gets you your choice of 6 mains and some spicy laughs. Held every Friday 12noon at Star bar Theater 600 George Street Sydney. Get your office mates, friends, tourist and your boss together for lunch with a twist. Book now at 95472578 or www.comedyintheraw.com.au Starts Sept 17th. Limited seating per show iFlogID: 5985
Event Managment service,Promotions and Production. Specialising in the arts. Fashion shows, exhibitions,gig’s & album launch parties. We also offer entertainment such as dance, models, performance and live music. Please email chicpetiteevents@ hotmail.com iFlogID: 6719
FRESH TEES - SCREEN PRINTING
FULL COLOUR POSTERS Visit our website for an extensive price list and other services! iFlogID: 6348
MUSICIAN & BAND WEBSITES Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665
T-shirts, Hoodies, Caps, Polos, Screen Printing, Direct 2 Garment, Transfers Embroidery, Artwork Design,0415 139 056 firstname.lastname@example.org iFlogID: 6027
ICE CREAM FACTORY PHOTO STUDIO Inexpensive photo/video studios for hire from $150. Located at Turrella (10 mins drive from Newtown) iFlogID: 4768
For a limited time. Free online andprint classifieds Book now, visit iflog.com.au